Thursday, 2 May 2013
Testimonial - Appendix
Ask your level 6 director to write you a short testimonial of how you have done which can be summited in an appendix at the end of the report.
Wednesday, 1 May 2013
Assistant Animator - Handbook Criteria
Meeting my Assistant Animator Brief
As we approach the end to my assistant animator's role on this project brief I thought I would take time out to assess the key 'learning' aspects of the project. Hence the headers are taken straight from the syllabus and my reflections noted below.
• Insight into Level 6 Final Major...
There's no doubt I've got the insight into Level 6 final projects from my role as a 'hands on' assistant. Having spoken to a few level 6 students about their projects the scope and scale of the films they set-out to make varied widely. For instance Jessica's Knight Dragon project, work for assistants was delegated out across a cross-platform of 2d and 3d roles with Jess acting as a project manager as well as an animator/director of the final work.
Yet, working alongside Chris we essentially worked as a 'partnership' so Chris was involved throughout, guiding and advising on each step towards the film's production.
The 'experience' can be divided into many segments and for each one, the overall feeling differed dependant on different factors.
The Bad was always based on the 'location', the weather and the end results. Given the nature of the project required us to work in partial or full darkness and given the project ran over the course of british winter time (inc the coldest March in 50 years) then this accounted for the bad experience. Being a distance learner meant to be on-site meant I would be staying in Stoke for 12 hour days and travelling back late at night before having to be in for 10am lectures the following day.
The good was getting the chance to explore a new medium with 'light painting' as an art form. Getting an insight into Chris's passion for the 'method' required and having the technical know how to set-up the scenes to get his 'vision' onto the camera. Of course seeing what you've achieved at the end usually gives rise to some happy faces and knowing Chris was pleased with the output brought enough satisfaction to ride out the bad stuff.
• New inspiration & ways of working...
Who doesn't like to try something new? Moving away from conventional animated production and into what can only be called 'experimental' I felt was very brave of Chris. Tying in nicely to my own 'Experimental' component on Level 5, opened my eyes to the idea that animated work can be conducted outside, at night, with nothing but a torch a camera and some imagination. Working not only outside but 'on location' in local parks, abandoned buildings (probably condemned) and having to carry kit and equipment over 6' fences before we can even begin is definitely a 'new way of working'.
• Start to network with peers...
Not before time having the opportunity to network and work with your peers has been a welcome change. Sharing studio space with other Level 6 students has allowed a sneak-peak into their student world, some studio based like Daniel James 'The Piper, and some like Chris Wass 'Alive at Night'.
Monday, 29 April 2013
Under the Bridge
Last night Chris & I became characters from 'The Railway Children', much like in Edith Nesbit's tale only we were in Stoke-On-Trent at night behind a disused factory while contaminated water flowed bye us with only ourselves and the bats as company.
That said when the test shot's for 'Alive at Night' came onto the camera screen I could see why Chris had chosen to use this location to capture some atmospheric shots.
Rather than I write a paragraph of description below is an image to set the scene up.
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| Under the Arches (before dark) |
I have to mention the Wellies. When I got the call off Chris I was advised to bring some Wellies with me as it "might get a bit damp underfoot'. So good to my word I turned up with some Hunters expecting some soggy ground. Even when I turned up at the door, declaring "I was kitted up in my rubbers" I still didn't get the full story, until 20minutes later I was stood at the base of the stream that runs through the railway arches and was told "it doesn't look that deep, see how you go getting across". "You can do a trial 'crossing' before I pass the camera & laptop to you". Lest to say the stream (not drinking water stream) got deeper and deeper and that put pay to Operation 'wellington boot'!
BACK TO THE SCENE
After we got set up either side of the arches, Chris set-up the kit which tonight included the camping table and laptop running "Dragon-frame' software. I got my instructional on the settings for the software that will replace what we did previously on the phone. Initially we tried a remote control that would have meant we could have light painted with both characters, but the range on the remote did't trigger the camera hence we gave up before it fell too dark.
Once we were happy with the settings and approved the 'test shots' we started with me operating the camera via the laptop.
WEATHER STOPS PLAY
Yet again the british weather stopped us as the night brought drizzly rain that didn't abate hence we called it a day around 11pm and returned home so the editing could begin. I made the commute home and was home for midnight.
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| http://www.dragonframe.com *** BELOW I HOPE TO EMBED THE SCENE CLIPS WE SHOT **** |
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| *remote capture device |
Timelapse/Night Walk/First Look Edit
Waiting for nightfall before you can start work is a curious feeling and somewhat frustrating. Given time is precious we agreed to make use of the last of the light and capture a 'time-lapse' from our latest scene 'under the arches'. This was a 'first' though as although I was well aware of the principle and loved the look of time-lapse I hadn't before created one. So we set the camera up pricariously sat on the archway above the railway tunnel and set the camera to manual and triggered 44 minutes of 1minute interval pictures.
To say time stood still for the next hour would be an understatement.
The day (which had been fine&sunny) refused to let darkness in hence after our alloted time we needed to extend the timing. Twenty minutes later and the lense shutter letting in near blackness but for a half moon that framed itself in the top 3rd of the shot.
Finally the onset of night allowed us to cue up the 2nd shot and 1st lightpaint of the evening. Leaving the camera and tripod where it started Chris (feeling a bit ropey) stayed behind the scenes while I began from the furthert point on the stream and worked towards the camera position. We shot on 8's until I'd painted out of shot and captured 11seconds of material.
Originally we had proposed a third shot whereby Chris would don the wellingtons and paint in the steam under the tunnel, however given he was suffering (CarslbergSunStroke) we aborted the shot to protect his migraine as the watery tunnel is not the place to fall (ill).
Plan B (Upload&Edit)
After heading back to Chris's pad we agreed to use the time left to upload tonights shots and composit them using Adobe software. First stop Adobe light room, Here we croped the alignment as the camera had been a degree or two off centre. Next we deleted the odd shot I'd not painted in and 'viola' were done. Next, import them into Premier Pro editing suite. A first look into this software and what a revelation. It's a world away from iMovie (amateur) to this suite that seemed an editors dream campared to the limiations of iMovie.
Lessons Learned...
When doing time-lapse make sure you set the timer (the alternative does't bear thinking about).
When light painting remember to look for the light on the camera so you know when to start
When animating it helps to remember the last painting you made so you know wha to do next.
Never use inferior editing software when you have access to professional producs.
Lesson Chris learned
Don't mix the April sun with too much Carsberg (other brands are available)!!
Peace
To say time stood still for the next hour would be an understatement.
The day (which had been fine&sunny) refused to let darkness in hence after our alloted time we needed to extend the timing. Twenty minutes later and the lense shutter letting in near blackness but for a half moon that framed itself in the top 3rd of the shot.
Finally the onset of night allowed us to cue up the 2nd shot and 1st lightpaint of the evening. Leaving the camera and tripod where it started Chris (feeling a bit ropey) stayed behind the scenes while I began from the furthert point on the stream and worked towards the camera position. We shot on 8's until I'd painted out of shot and captured 11seconds of material.
Originally we had proposed a third shot whereby Chris would don the wellingtons and paint in the steam under the tunnel, however given he was suffering (CarslbergSunStroke) we aborted the shot to protect his migraine as the watery tunnel is not the place to fall (ill).
Plan B (Upload&Edit)
After heading back to Chris's pad we agreed to use the time left to upload tonights shots and composit them using Adobe software. First stop Adobe light room, Here we croped the alignment as the camera had been a degree or two off centre. Next we deleted the odd shot I'd not painted in and 'viola' were done. Next, import them into Premier Pro editing suite. A first look into this software and what a revelation. It's a world away from iMovie (amateur) to this suite that seemed an editors dream campared to the limiations of iMovie.
Lessons Learned...
When doing time-lapse make sure you set the timer (the alternative does't bear thinking about).
When light painting remember to look for the light on the camera so you know when to start
When animating it helps to remember the last painting you made so you know wha to do next.
Never use inferior editing software when you have access to professional producs.
Lesson Chris learned
Don't mix the April sun with too much Carsberg (other brands are available)!!
Peace
Up. Up & The Balloon Scene
The Moon is full tonight, the last of the daylight slowly fades to moonlight and inside we talk through the planned scene. As it's the scene with both the male and female characters we have a guest animator, Chris's girlfriend Jenny. Jenny was indented to play her role behind the camera while I get the female part and Chris gets to play the 'male' role. We also get the critical eye of our guest director Smithy who rocks up his directors 'sun' chair and makes some keen observations as we attempt an interaction where by the balloon gets passed from male character to female character.
Early efforts don't go well as Chris needs to 'light paint' an arm for his character so to convey the passing over of said balloon. But this proves difficult for him to repeat and under the glare of our Director and 'artistic' differences arise.
Cue forward to twenty minutes later where we find myself, Jenny and Chris with the remote capture and try take three. This time I suggest Jenny paints in the string to the ballon, in the hope this will 'suggest' the balloon is passed over rather than having any extra limbs.
RESULT! - This seems to work on screen and so after we run through a series of test shots we get to 10:30 and crux time. We vote to push on and salvage something and get underway.
This proves to be a good call. Twenty or so minutes later and we have our scene done.
Early efforts don't go well as Chris needs to 'light paint' an arm for his character so to convey the passing over of said balloon. But this proves difficult for him to repeat and under the glare of our Director and 'artistic' differences arise.
Cue forward to twenty minutes later where we find myself, Jenny and Chris with the remote capture and try take three. This time I suggest Jenny paints in the string to the ballon, in the hope this will 'suggest' the balloon is passed over rather than having any extra limbs.
RESULT! - This seems to work on screen and so after we run through a series of test shots we get to 10:30 and crux time. We vote to push on and salvage something and get underway.
This proves to be a good call. Twenty or so minutes later and we have our scene done.
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| Balloon Scene 1 |
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| Ballon Scene 2 |
Thursday, 14 March 2013
Derelict & Dangerous
der·e·lict
/ˈderəˌlikt/
Adjective
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Noun
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Synonyms
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I think I've found the website Chris has been doing his location scouting http://www.derelictplaces.co.uk
Below is the latest abandoned wreck, anyone without an ounce of daring would be dismissive of, but hold on, jump the security fence, scramble over the wall, dodge the disused crack den and voila' your in.
Once in we scouted the various rooms, some had roofing above, some partial, others non, I got a feel for the place and Chris talked though some ideas for a scene. The one we did was set within the window frame, where there was no longer any glass but there was an abundance of bricks so we set about moving them into the windowless room in preparation for the shot. Once we had dusted down, set-up the camera and adjusted the settings we got down to the manual labour. I played brick builder and Chris shot maker. 40plus bricks later and we had a scene*
*Sadly Chris had not set the camera properly hence we lost what we captured.
**Shane saves the day-A couple of days later Chris was able to return with Shane to get the shot done!
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| der-e-lict (somewhere in Stoke) |
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| The Window pane (scene setting) |
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| Window Pane (animated sun) |
Thursday, 28 February 2013
On Location
In need of a change of scenery we moved stage to Hanley Park
Despite your 1st impression in the day time, at night the park makes for an interesting backdrop for some scenes. Chris has already planned a good deal of time in and around the park so getting a feel for the place, its layout, buildings, features and lighting seemed a good plan in what may be our last pre-production night. We set up to shoot two brief scenes, one apiece, using the Pavilion and the steps before it as our backdrop.
The greatest shame is the pavilion is boarded up with security fencing preventing access. Hence what would have made for a varied urban interior is 'Out of Bounds' to us if we want to stay on the right side of the law.
Vimeo - My 1st credit as Assistant Animator
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| Vimeo -(Still Image -Pavilion) |
Wednesday, 27 February 2013
Final Tests - Colour Theory
So as we gear up to start filming for real Chris & I thought we'd get some final experiments done tonight where we can nail down some fundamentals. Specifically we wanted to set the camera settings and the light colours we would work with when it comes to starting the actual film.
Camera Settings = 5.6 Aperture / 10 secs Shutter Speed (F'stop) / 400 ISO
Light/Colour Theory
In this still image from the night we set the purple against the red and got the following look
Camera Settings = 5.6 Aperture / 10 secs Shutter Speed (F'stop) / 400 ISO
Light/Colour Theory
In this still image from the night we set the purple against the red and got the following look
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| The Night Crawlers do Colour Theory |
Thursday, 21 February 2013
Alive at Night 2nd Test
Evening All,
So it is, a second night of tests in the cold. And GOD is it COLD out there.
It's dark, it's a few degrees below freezing and were setting up for a few hours worth of tests.
As our focus on the 1st night was getting to grips with the camera, the lights and forming the character that will be the focus of the film, so tonight was all about trying to get some fluidity into the character.
Chris wanted to see some animation and realism in the light painting. So we set about it with that aim.
I seemed fixed on painting in legs to the character whether it was moving or now so mental note 'during the movement' its not necessary to draw the legs, instead I can allow for some misshaping, so long as I close the body up at the bottom.
PROPS: We got the wheelie bin in on the action this time round. Hence our scene's began with the wall moving towards the bin and then the gate before crossing the alley and the abandoned sofa which we dragged up last week.
Chris & I took turns as this helps us both get a sense of where we can improve and keeps one of us moving despite the cold setting in. So here's the results ...
So it is, a second night of tests in the cold. And GOD is it COLD out there.
It's dark, it's a few degrees below freezing and were setting up for a few hours worth of tests.
As our focus on the 1st night was getting to grips with the camera, the lights and forming the character that will be the focus of the film, so tonight was all about trying to get some fluidity into the character.
Chris wanted to see some animation and realism in the light painting. So we set about it with that aim.
I seemed fixed on painting in legs to the character whether it was moving or now so mental note 'during the movement' its not necessary to draw the legs, instead I can allow for some misshaping, so long as I close the body up at the bottom.
PROPS: We got the wheelie bin in on the action this time round. Hence our scene's began with the wall moving towards the bin and then the gate before crossing the alley and the abandoned sofa which we dragged up last week.
Chris & I took turns as this helps us both get a sense of where we can improve and keeps one of us moving despite the cold setting in. So here's the results ...
Thursday, 14 February 2013
Alive at Night - 1st Test
Evening All,
For our 1st test we agreed to meet just before night fall to see just how dark things needed to be to get the desired lighting effect on camera.
I got a low down on the equipment we would be using and the principles of 'light painting' While there are examples out there the look and the feel would be down to how we approached the filming, the locations and mood set by the work done over the coming months. Please find below the results of the initial test. ENJOY
Wednesday, 13 February 2013
Set-Up & Equipment
THE EQUIPMENT LIST:
x1 Canon DSLR (with Liveview technology)
x1 Android Phone
x2 Tripod
x6 key light LED's
001 - The Equipment
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| Inside - Camera/Phone/Tripods |
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| Outside-With Cable (live-view software) |
I will keep adding to this entry building up a series of personal pics (work in progress)
Tuesday, 12 February 2013
Alive at Night - ANIMATIC -
First things first I needed to get a briefing from Chris as to the storyline. This comes courtesy of this animatic created by Chris.
Incomplete Animatic from Chris Wass on Vimeo.
We spoke about the general plot, the locations that Chris has scouted out from the local area and the logistics of making a film like this, given it's experimental feel.
Incomplete Animatic from Chris Wass on Vimeo.
We spoke about the general plot, the locations that Chris has scouted out from the local area and the logistics of making a film like this, given it's experimental feel.
Friday, 8 February 2013
Inspiration
Having now got a feel for what we were trying to achieve I thought I would look at other examples where Light painting was the focus of the film/animation or at least played a part in the final work.
Hence I reached out online to see what appealed...
Here are a selection to whet the appetite and act as a reference or inspiration down the line when the long hours in the cold & dark are taking their toll on our creativity and enthusiasm.
Pahnl on Vimeo
Nowhere Near Here from Pahnl on Vimeo.
Darren Pearson on YouTube http://www.youtube.com/user/thedariustwin?feature=watch Just a sample of the variety of work out there. Just finally there is a collective of artists under the name the light painters who court commercial work with light painting being the focus http://thelightpainters.com
Hence I reached out online to see what appealed...
Here are a selection to whet the appetite and act as a reference or inspiration down the line when the long hours in the cold & dark are taking their toll on our creativity and enthusiasm.
Pahnl on Vimeo
Nowhere Near Here from Pahnl on Vimeo.
Darren Pearson on YouTube http://www.youtube.com/user/thedariustwin?feature=watch Just a sample of the variety of work out there. Just finally there is a collective of artists under the name the light painters who court commercial work with light painting being the focus http://thelightpainters.com
Thursday, 7 February 2013
WELCOME TO ALIVE AT NIGHT
THIS BLOG EXISTS TO ACT AS A DIARY, TRACKING MY CONTRIBUTION TOWARDS MY ASSISTANT ANIMATOR ROLE.
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| Alive at Night - At Home |
It provides evidence of my involvement towards the final year piece for Chris Wass, a Level 6 student studying Animation at Staffs University.
My involvement will be logged in diary entries which will include text, photographs and illustrations showing my contributions from taking on the project until final submission in May 2013.
The project has a number of other on-line portals all created by Chris where you can view the progress made first hand...
Alive at Night (Facebook Page) *closed group
Chris Wass (Website)
Chris Wass (YouTube channel)
Chris Wass (Vimeo.com)
The following entries will be my personal 2nd hand account of progress.
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