TheCrimsonSins SinbadAndTheFeather

TheCrimsonSins
SinbadAndTheFeather
Contents
Contents.
Statement
MeetThe
Team
1-2
16-19
3-4
Character
Design 20-22
Idea
Inspiration 5-6
Character
Turnaround 23-24
StoryBoard 7-12
Background
13
Inspiration
Background 14
Design
Asset
Inspiration
1
Asset
Design
ProductionBlog:
Animatic:
PitchVideo:
SWOT
diagram
25-26
Scedule
Schedule27-28
Pipeline 29-30
http://sinbadandthefeather.tumblr.com/
https://vimeo.com/93097608
https://vimeo.com/93101533
MissionStatement
Mission statement for our team
We are proud to present to you “The
Crimson Sins” entry to the BFX competition. Our Piece is called “Sinbad
and The Feather” and is based on the
“Crimson Island Script”.
Our piece is a feature style animation
inspired in design by Persian form. We
genuinely believe that we can create
something of the calibre of Ringling or
Esme. The piece is especially timely
considering “Double Negatives” recent
decision to bring feature animation of
the quality of “Pixar”, “Dreamworks”
and “Blue Sky” studio to Britain. It is an
exiting time to make something with an
extreme cartoon style which of course
is also applicable to the game industry.
Our intention is to create a comedic
short centred around slapstick and
physical comedy. By concentrating
solely on the physical act of animation
we hope to create something that will
truly showcase us all as individuals and
as a group. We want to take the legend of Sinbad more back towards it’s
Iraqi roots by taking inspiration from
Persian design. We are therefore making Sinbad of middle eastern ethnicity
and creating the assets of the scene
inspired by Persian style.
http://sinbadandthefeather.tumblr.com/
https://vimeo.com/93097608
As a group we enjoy the cartoony more
style based shorts and feel the
chunky not photo-realistic
styles are of far more
interest to us.
15
https://vimeo.com/93101533
2
MeetTheTeam
Meet the Crimson Sins Team.
SineadOram
Our team consists of 5 talented and driven students and graduates from all over the UK. United by our
love for style and cartoony animation Sinead Oram and Pablo Parry began the group by designing a
chunky arabian world before advertising for like minded people on the BFX facebook page. Joined by
firstly Holly our Lead animator, the team was added to by Claire our secondary modeller and generalist and finally we added Daniel to the team who will be out secondary animator and another generalist
hope to make a stylish and lively short that screams CARTOON!
HollyGee
ClaireLarkin
DanielSeager
My key skills are in 2d and
3d character animation and
character design, but I also
able to produce storyboards,
concept art and traditional
art. I like to experiment with
a wide range of techniques
and materials, my favourites
being painting, drawing, collage and photography. I’m a
huge fan of folktales and mythology. Its endless wealth of
inspiration for my personal
work as every culture seems
to have a fantastic story.
Claire Larkin is currently a
second year student studying Computer Animation Arts
at Bournemouth University.
She is passionate to work
on character driven pieces.
As a generalist, she loves to
explore new skills and refine
her skill set. She hopes to
put these skills into action
through the BFX competition
and continue to grow as an
artist.
AcademicRefrence
My passion for animation
encompasses games and
film and comes from a desire
to bring a sense of personality to storytelling and to
capture all actions in games.
I’ve loved animation since
childhood growing up watching the Disney classics over
and over, but in recent years
began to consider the possibility of pursuing a career
in games or animation. My
time at University learning
more about the fine details of
animation in both industries
has further fuelled my desire
to pursue this career.
Requirements: Maya, Pho-
Our refrences kindly supplied by our Lecturers.
toshop, Corel Painter
Requirements: Maya, Nuke,
Mudbox/zbrush, Premier Pro
Requirements: Maya,
Photoshop, Adobe Premier, 3DS Max
Character Modeler, Lead
PabloParry
Genralist, FX,
Pablo Parry is a CG Genralist
Sinead Oram is graduate
who will be tackling the enviof the University of Wales,
ronment modelling and setNewport, where she graduting in the scenes. He graduated with a 1:1 in Animation.
ated with a first in animation
Specialising in Maya she
from the University of Wales
hopes the BFX competition
Newport. He hopes that the
will give her the exposure
and leverage it takes to enter competition will showcase
his skills and lead to full time
the CG industry as a junior
employment or work expericharacter modeller.
ence.
She will be acting as the
groups lead.
Requirements: Maya, CinRequirements: Maya, Cinema 4D,Headus Uv Layout,
ema 4D,Headus Uv Layout,
Zbrush, Photoshop, After EfZbrush, Photoshop, After Effects, Premier.
fects, Premier.
Leonie Sharrock
Senior Animation Lecture
Ba(hons)
01633432967
[email protected]
ac.uk
City Campus
University of South Wales
Usk Way, Newport
NP20 2BP
3
Leonie Sharrock
Senior Animation Lecture
Ba(hons)
01633432967
[email protected]
ac.uk
City Campus
University of South Wales
Usk Way, Newport
NP20 2BP
Animation,
Modelling, Generalist
CS6, photoshop.
Animation
Mat Garey
Senior Lecture
Ba(hons)
Paula Callus
Ryan Flynn
Lecturer
Principal Lecturer
023 9284 5477
[email protected]
01202 965865
[email protected]
02083318643
[email protected]
Eldon Building, Winston
Churchill Avenue, Portsmouth
PO1 2DJ
Weymouth House W245,
Talbot Campus, Fern Barrow,
Poole, BH12 5BB
Old Royal Naval College, 30
Park Row, London
SE10 9LS
4
TheIdea
The idea explained.
Our piece is based on the script “CRIMSON ISLAND” written by Thomas R Garrett based
on the fifth Voyage of Sinbad the sailor . We are concentrating on the first paragraph
where the character of Sinbad chases and coverts with an enchanted feather. We
have chosen this part of the script to highlight our talents based on character
and character animation.
Instead of the original script setting the piece on a jetty we are
choosing to move the story to a persian style ship to respect
the iranian origins of Sinbads story. Another reason is to
take advantage of the style of traditional wood carving
which will give our cg world subsistence and grounding in
reality.
Inspirational
Sources
1.
2.
3.
4.
5.
We chose to look at
The style of contre temps
Persian design and
is beautiful. We enjoy the
Islamic carving to
style used for the sea and
inspire the multiple
are keen to imitate its
amazing use of light through- wooden objects within the
out. The foam on the water is scene. We used persian design as the Sinbad legend
particularly enviable.
Work that has inspired us.
originates from Iran.
The style of movement
Our biggest inspiration
Short film “The Black
Meg displays in the
of the style of the piece is
Water Gospel” by the
Disney short “Paperthe game series “Monkey
Animation Workshop has
man” is what we’d like
Island”. We feel the quirky
inspired us to use paintand chunky nature of the deerly textures in our piece. They to emulate. How she chases
the paper plane is how we’d
sign suits an adventure based managed to achieve such a
like Sinbad to chase the
piece such as ours.
style by projecting their texenchanted feather.
tures on to flat planes.
TheTreatment
The treatment and synopses.
The film starts with a Persian ship at dusk, gently bobbing on the warm summer breeze.
Behind the fishing boat a strange tropical island stands in the water almost in silhouetted as the sun dips below the curling clouds of the horizon.
Our hero Sinbad awakes from a nap seen standing and yawning. A strange object floats
behind him, it’s a beautiful golden feather. The enchanted Roc feather swoops into his
field of vision, Sinbad is mesmerised.
He reaches forward tentatively to grab the feather but then overcome with his desire he
dives for it but manages to just dizzy himself by getting in a twist. Still without his prize
he reaches forward for it but just slams himself into his ships mast.
Still utterly determined to nab that feather he runs forward, leaping into the air he
pushes with all his might to grab the Roc feather. He catches the feather and is overcome with joy. Suddenly a wave of
panic washes over his face.
Something isn’t right. He realises in his eagerness to grab
the prize he has jumped off his own ship, and in true wallie coyote style looses grip of his feather and plunges off
screen into the sea below. SPLASH!!
1
3
Stylistically the piece will be driven and inspired by
character. Our piece aims not to be photo realistic
but embrace the stylish nature of animation and
push strongly forward with the 12 principles. We
believe that using Pixar, and Disney for inspiration
will push us into striving for the best character
animation we can muster. We have chosen to
keep the piece looking chunky and painterly
throughout. We hope by using painted textures on the assets within scene with thick
blocky out lines will help ground the piece in
this painted feel.
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2
4
5
StoryBoard
The full Story Board.
Persian Ship Bobs on the sea at dusk.
Feather swops past the scene.
6
5
Sinbad wakes from his nap.
Sinbad leans back relaxed
4
Film title fades into on top of scene.
7
Sinbad wakes from his nap.
10
9
7
3
2
1
Suddenly the feather comes into his
eye line
Tired and groggy Sinbad yawns.
11
Sinbad wakes from his nap.
8
The feather passes behind Sinbad, he is
still unaware of it at the moment.
12
He is mesmerised by the feather.
Sinbad tentatively reaches for the feather.
8
StoryBoard
The
full Story
Board.
The full
Story Board.
He steps forward but cant quite catch it.
He gets in a tizzy and twists himself in
circles.
18
17
He stumbles backwards.
21
In one last ditch attempt to grab the
feather he leaps forward.
9
15
14
13
But still the feather has not been
caught!
19
Battered and bruised.
22
16
Dizzy after his fall he slams into the
ships mast.
20
Now Sinbad is determined!
23
Now Sinbad is determined!
24
The feather is within grabbing distance. He leaps forward and grabs the feather!! His face is full of joy as he realised he’s
captured it..
10
StoryBoard
The full Story Board.
25
26
A wash of doubt passes over his face as
he realises...
29
27
...he has leaped off the ship.
Sinbad struggles in mid air for a second.
28
Before falling to his watery fate.
30
SPLASH!!!
11
12
Background
Inspiration
1.
3.
4.
This first image that we
have drawn inspiration
from is from the french
short “Mythologique”.
The purple hues are a nice
alternative to the stark blues
of other interpretations of
Initial design scenes
dusk.
Painterly concept art
Another short with an
from the ringling short
amazing painterly style
“Monsterbox” has inand quality of light is
spired us to set the
“Contre Temps”. This
piece at dusk or dawn to get short also has a sea which
that beautiful quality of light. we will try to imitate.
2.
Although the colours
are off from our idea
this scene from monkey
island has inspired us to
mimic its large curling clouds,
and rising rocky island.
Background
Design
Initial design scenes
5.
“Du Tout Cuit” from the
esma animation school
is also an inspiration for
our backgrounds. As our
piece has similar style and
setting .
1.
This was our first background design In out
first iteration of the
piece we had decided to
set it all at night. Because the
night would allow us to have
a very purple and blue pallet,
meaning we could disperse
orange lights around the
scene to make an effective
layout. However after reviewing multiple short films and
mediums we found that the
lovely fresh colours of dawn
or dusk would be better.
2.
This design is created
with that amazing lighting quality that only
dawn or dusk will bring.
We felt setting the piece at a
twilight would allow us to play
more intimately with different colours and saturations.
The feel of the scene here is
far nicer and the darkness of
the light will make the feathers particle effects shine and
glimmer that much more.
3
1
1
4
2
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5
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Asset
Inspiration
1.
2.
Initial asset designs.
This painted image of
This initial image infeathers inspired us to
spired the first designs
add arabic patterns to
we had for our feather.
our designs. We believe
The enchanted roc
a good sense of style and patfeather acts is a secondary
character in its own right, so tern is important to reflect
arabian design.
design was important.
3.
4.
5.
Again thinking of the
We chose to look at perLooking at islamic patdesign of ancient civilisasian design and islamic
terns we have chosen to
tions, this ship is Egypcarving to inspire the
use rich colours and pattian in origin. We have
multiple wooden objects
terns to anchor Sinbad in
within the scene. We used
his Persian origins. This chest chosen to elaborate on this
design to create Sinbads ship.
persian design as the Sinbad is an example of pattern we
legend originates from Iran
may use.
3
Asset
Design
1.
3.
4.
These feathers explore
the different colour and
pattern designs we could
choose for the short.
The original Roc feathers are
described as being red so we
experimented with red and
Initial asset designs.
gold.
In this telescope design we
The feather design proexplore the arabic pattern
cess began with experimotif once again. As you can
menting with all kinds
see from the chest on the
of shapes designs and
left floral pattern is an important patterns to explore as many
persian motif worth exploring.
design options as we could.
4
4
2
5.
1
1
15
2.
This sword was designed
in a very chunky style.
Though we want to portray Sinbad as more of a
pacifist, a lover not a fighter,
we couldn’t resist moving
forward with the funky bone
design.
These initial sword designs experiment with
shape and theme, whilst
incorporating pattern
and chunkiness into their design.
5
2
3
5
16
AssetDesign
Original asset design models,
17
18
Character
Design
Asset
Design
Initial Character Design
Initial asset designs.
1.
2.
3.
Some more designs
Here are some very
A wider variety of swords.
this time oil and candle
quick sketches of objects
Taking pirate and arabian
based lamps. The dusk
we’ll be using to dress
styles into consideration I
time setting will allow us
the scene to create a
think we will have a good
to fill the scene with lights.
lavish, believable world.
style to work with.
1
1.
The initial design for
Sinbad was a captain
type person. We started
by playing with character colour and palettes. Later
we decided that these Sinbads were to hefty to be the
action character we wanted.
2.
After experimenting
with colour we decided
that maybe designing a
whole medley of pirate
style characters then narrowing down the design would be
a good idea. We liked moved
forward with pirate 2’s design.
1
2
3
19
2
20
Character
Design
Initial Character Design
The character of Sinbad is an imalgamation of many different characters who have inspired us.
He is part Tarzan, part Flynn Rider, part Aladin, we felt it important to give him the adventurous
scallywag type design to give his wild movement substance and reason. In our early research we
found that Sinbad was Persian in origin and we felt that this would be a good opportunity to give
the charcter a middle eastern appearance for sake of his legend. This has lead us to Sinbad’s
Arabian pirate style with the mischievous and rugged look which suits the inquisitive nature of
the piece.
21
22
Character
Turnaround
Final character design.
23
In this final character design we have solved most of our
character design issues. This design of Sinbad is cheeky
and active looking enough to portray his adventurous nature and reflect his personality in his looks. Though in the
final model we intend for the character to have chunkier
dreadlocks, and a larger nose the more over the top
characteristics can be included in the modelling stage.
24
Swot
Strenghts, weaknesses,
oppourtunities, threats..
Strengths
Weaknesses
-Proven track record of some team
-Intense time constraints.
members of delivering short films to a -Project could be too over ambitious.
deadline.
-New team which hasn’t worked to-Complementary skills.
gether before.
-Experience from multiple universities
means diverse range of knowledge as
taught in different styles.
-Experience of group members range of
graduates and students.
Opportunities
-Opportunity to showcase work to the
industry
-Opportunities to gain work experience, internships and placements.
– A chance to work within a bigger
team for a more finished piece.
– An opportunity to meet peers who
want to enter the animation inudstry, a
chance for collaberation with peers.
– New professional work to add to
showreels.
– Opportunity to meet industry professionals and get mentored by them.
25 2
Threats
-Technical misshaps like file corruption.
-Unused to new work atmosphere
-Advanced squah and strech rig required for our desired style of animation.
-Stress of working on such a project to
a very tight deadline.
26
SceduleGnattChart
The Scedule for the 6 week project.
27
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Pipeline
Our pipeline is set up in the traditional manner for a cg character piece. Starting with concept art work at the pre-production
stage we move on to our pre production phase which includes the production of the assets and environment. These first two
phases are all about design and creating our stylish and constructed world. The third phase of production involves the creation of our piece though animation and
Our initial Production Pipeline
Initial
Concept
Script
Character
Art Style
Storyboard
Animatic
UV’s
Development
Modelling
FX
Texture
Lighting
Animation
Rendering
Compositing
Editing
Final
Touches
29
Pre-Production
Rigging
Production
Music
Folley
Post Production
30