Opal helped with ink and paint on shot 12, and took a pretty challenging task of animating three characters in a slightly complicated perspective for Shot 3. Here you see the rough, with the charts and my keys / breakdowns and her first round of inbetweens, and then one of her cleaner passes (not the final one). I prefer looking at the roughs myself, but I’m a luddite like that. With only a little bit of notes she was able to control all of these elements. She later did the ink and paint on this shot as well. Check out Opal’s site here! Thanks Ms. Baines!
This summer break / accelerated semester is being spent churning out all the remaining layouts so I can focus on animation and audio in hopes of hitting my primary deadline. The layouts cover a lot of the beginning, third, and final quarters of the film. There will be a number more color cards and simple two color backgrounds, but these are the complicated layouts. ONLY FOUR LEFT! But some of them are going to be quite a bit more difficult.
No more finished scenes true believers, this is a pencil test that I am really proud of. Animation by John Hill, but clean up by Opal Baines, Ashley Cameron, and Emily Brown. They will also be handling the color pass.
Marshall Stevens is a BFA student at the school where I teach, who has an interest and acumen for digital painting. He’s particularly good at taking notes and incorporating set styles. Not to mention he’s just an overall hard worker. I tasked him with painting several background plates this last quarter, some I provided layout drawings for, and some we roughed out together based on the rough indications of the animatic. Here’s a sampling of his work.
Shannisha Donnerson is an extremely talented draftswoman and BFA student who I think will eventually make a name for herself designing characters for television or film. Of the interns I’ve had so far, she was the one who captured the style of the characters the easiest and best. Because her portfolio is shaping up to be more focused on character design than animation, this was a great scene for her to get some practice on and push her skills. This scene is short, but has some pivotal acting and we really needed to make sure that Lovey’s mood changes were clear and her focus was readily apparent. We had to go back and forth with notes on the timing and spacing, eventually extending the scene longer so we could get the acting necessary. A little work on her arcs and eye placement and she had it. Shannisha worked very hard and she should be proud of the results.