Unfortunately, strict confidentiality prevents me from revealing
who it is for.
8.6.09
Top Secret!
Here's what I am working on at the moment.
Unfortunately, strict confidentiality prevents me from revealing
who it is for.
Unfortunately, strict confidentiality prevents me from revealing
who it is for.
'Onwards' sketchbook 2
Scan of of my working sketchbook for the storm sequence. I drew
this beside a pool in Palm Springs. Sounds glamourous, but
moreover it exhibits my complete inability to relax.
Notes in red are changes discussed with James in light of the
animatic I made, which I will post shortly. Pencil are time
references for certain moments to hit to keep in time with the
music. This shot lasts over a minute, but was far more difficult
to orchestrate than it appears.
In particular, the camera move broke my little dick in two. Far
easier to sketch beside a pool than actually make 'real'. It rises
behind tattie-head to reveal the vista, (on cue), overtakes, spins
backwards, accelerates downhill, pulls up square, drifts wide,
then does a giant barrel-roll while changing to a distorted lens
length to end up beside his striking feet, then rushes into the
portal behind him.
Normally this is the sort of shit that makes me demand a refund
from the cinema manager because Peter Jackson was drunk on it.
But here, your honour, I was trying to convey the feeling of a
flowing, uninterrupted stretch, where you suddenly sense your
feet moving beneath you, cycling unconsciously.
Who is controlling my legs?
Don't know.
Don't stop.
The tiny thumbnails were me working out how to animate
lightning, given James' style of drawing and the strict three-
colour palette. In the end I ripped some home movies from
YouTube, studying them frame by frame to work out a sequence.
Hopefully, as with all of this, you don't think about it.
this beside a pool in Palm Springs. Sounds glamourous, but
moreover it exhibits my complete inability to relax.
Notes in red are changes discussed with James in light of the
animatic I made, which I will post shortly. Pencil are time
references for certain moments to hit to keep in time with the
music. This shot lasts over a minute, but was far more difficult
to orchestrate than it appears.
In particular, the camera move broke my little dick in two. Far
easier to sketch beside a pool than actually make 'real'. It rises
behind tattie-head to reveal the vista, (on cue), overtakes, spins
backwards, accelerates downhill, pulls up square, drifts wide,
then does a giant barrel-roll while changing to a distorted lens
length to end up beside his striking feet, then rushes into the
portal behind him.
Normally this is the sort of shit that makes me demand a refund
from the cinema manager because Peter Jackson was drunk on it.
But here, your honour, I was trying to convey the feeling of a
flowing, uninterrupted stretch, where you suddenly sense your
feet moving beneath you, cycling unconsciously.
Who is controlling my legs?
Don't know.
Don't stop.
The tiny thumbnails were me working out how to animate
lightning, given James' style of drawing and the strict three-
colour palette. In the end I ripped some home movies from
YouTube, studying them frame by frame to work out a sequence.
Hopefully, as with all of this, you don't think about it.
14.5.09
'Onwards' sketchbook
A lot of people are claiming 'Onwards' was rotoscoped. It is very
flattering, since that is not how it was done. I'll post some of the
work-in-progress stuff I have over the next week or so, explaining
the process.
This is my working out how James drew the cross-hatching on his
drawings so I could match it in 3D. I had a fixed light source
acting as the sun. The hatching texture had to rotate to the correct
angle, depending on the relative angle of camera>man>sun.
Quite tricky, especially since the distance between hatches also had
to change depending how close the camera was to him. There was
also a second pass of hatching to match the way James' drawing
style.
I had a similar problem with the thickness of the main outline: it
had to remain the same thickness now matter how big he was in
frame.
Hopefully you don't even notice any of this shit happening when
you watch it.
I got James to quickly sketch the character and colour him in. The
numbers and arrows are my annotations of the order and direction
of all the strokes he made. I used this to recreate James' drawing
for the start of the animation.
We wanted the animation to be as close to James' ink drawing as
possible, so this attention to detail was imperative. Anal? Moi?
When I draw, I always seem to draw the nose first. I am sure Freud
would have something to say about that.
My thumbnail storyboard of the crow sequence. One of the most
satisfying parts of animating for me is putting a cross through a
completed shot. But I can never resist crossing out the shot I am
working on before it is finished, negating all pleasure.
I have the same lack of control with advent calendars.
flattering, since that is not how it was done. I'll post some of the
work-in-progress stuff I have over the next week or so, explaining
the process.
This is my working out how James drew the cross-hatching on his
drawings so I could match it in 3D. I had a fixed light source
acting as the sun. The hatching texture had to rotate to the correct
angle, depending on the relative angle of camera>man>sun.
Quite tricky, especially since the distance between hatches also had
to change depending how close the camera was to him. There was
also a second pass of hatching to match the way James' drawing
style.
I had a similar problem with the thickness of the main outline: it
had to remain the same thickness now matter how big he was in
frame.
Hopefully you don't even notice any of this shit happening when
you watch it.
I got James to quickly sketch the character and colour him in. The
numbers and arrows are my annotations of the order and direction
of all the strokes he made. I used this to recreate James' drawing
for the start of the animation.
We wanted the animation to be as close to James' ink drawing as
possible, so this attention to detail was imperative. Anal? Moi?
When I draw, I always seem to draw the nose first. I am sure Freud
would have something to say about that.
My thumbnail storyboard of the crow sequence. One of the most
satisfying parts of animating for me is putting a cross through a
completed shot. But I can never resist crossing out the shot I am
working on before it is finished, negating all pleasure.
I have the same lack of control with advent calendars.
13.5.09
Ever Onwards
Here's a long gestated project I did with my friend
Made with the kind support of Nike, who, under
James' canny guidance, embraced the project
without succumbing to any usual product-launch
or tie-in.
It was very refreshing to work on a project with a
realistic deadline and without clueless interference
from an over-cautious brand.
So, kudos to Nike.
But mainly thanks to James: twas a pleasure.
Here:
Free music
Here's a mix I did for lovely Mia.
♫ All The Ladies
You can download it, but regretfully you can never marry me.
Sorry.
♫ All The Ladies
You can download it, but regretfully you can never marry me.
Sorry.
Josephine Foster - Wehmut
Soap&Skin - Brother Of Sleep
Santogold - Lights Out (Diplo's Panda Bear Mix)
Stina Nordenstam – People Are Strange
The Dø – On My Shoulders
Feist - It's Cool to Love Your Family
Joan As Policewoman - Christobel
Barbara Morgenstern - The Operator
Lykke Li - I'm Good, I'm Gone (Metronomy Remix)
Jenny Wilson - Summer Time - The Roughest Time
Yeah Yeah Yeahs - Hysteric
Bat For Lashes - Daniel
Calico Horse - Idioteque
The Innocence Mission - Sweep Down Early
The Bird & The Bee (w/Sia) - How Deep Is Your Love
El Perro Del Mar - Inner Island
Soap&Skin - Brother Of Sleep
Santogold - Lights Out (Diplo's Panda Bear Mix)
Stina Nordenstam – People Are Strange
The Dø – On My Shoulders
Feist - It's Cool to Love Your Family
Joan As Policewoman - Christobel
Barbara Morgenstern - The Operator
Lykke Li - I'm Good, I'm Gone (Metronomy Remix)
Jenny Wilson - Summer Time - The Roughest Time
Yeah Yeah Yeahs - Hysteric
Bat For Lashes - Daniel
Calico Horse - Idioteque
The Innocence Mission - Sweep Down Early
The Bird & The Bee (w/Sia) - How Deep Is Your Love
El Perro Del Mar - Inner Island
18.2.09
For Mosse
I have no idea how I will get this blog back on track, what with
the rapturous arrival of Saul. However, I will persevere in good
time. For now, a card I made for my good friend Mosse, the
mastermind behind this blog in the first place.
17.1.09
13.1.09
5.1.09
4.1.09
3.1.09
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