EASY EASE,

To follow on from the previous post, i looked into techniques of animating camera movements in 3D space so that it looked smoother and more organic. It led me back to the basic principles of key-frames in After Effects - the points at which the 'transformation' occurs for a particular object, i.e moving left to right, fading in and out.

the technical term for the space between key frames - the actual animation - is interpolation. you can edit this in After Effects to make the transition between each frame change, i.e. slow at the start, quicker at the end, etc.

this was the tutorial that i used for it;

The way that key frames could be 'eased' in or out was extremely useful, and i experimented with this using a graph editor. this gives lots more control over the transition, much like drawing a detailed mask in photoshop or illustrator where you would use linear curves to retain the form and shape of the object.

Here are some sceen grabs of the workflow, and a clip of the 'peggy 3d' section to demonstrate my understanding.

working in 3D space -cameras

the other main tool to consider is the camera movement in a 3D environment. this is particularly useful for the section of Peggy to create kaleidoscopic style duplications. however, animating camera movement is extremely difficult to make it fluid and organic, but i will post research of this area next.

here is test preview using nested compositions and duplicates of peggy.

working in 3D space -lighting

-Understanding 3D environments for animation.

In order to convey that sense of depth, i had to layer my content in Photoshop beforehand. This meant lots of masking, and organising individual assets accordingly. Here is an example of the living room/arm chair enviroment for Albern to illustrate this.

1. Photoshop. Layering each element of the composition.



2. Importing the file with these layers cropped to use in After Effects.



3. Imported into After Effects.



From this, there are a million and one ways to compose it visually. I wanted to have a flickering from the TV lighting up the majority of the scene, so organising my assets in this way created many ways to do it.

Using a spot light in 3D space was one way to give this effect:

TESTTT:

expressions - 'wiggle'.

'wiggle' is a useful expression particularly for character animation. again, the red highlighted code represents the key frames which are being expressed, with each value 'relative to the frequency and duration of movement around a specific area of interest'. this is good for providing subtle movements, a strong feature of smooth, organic animation.

the screen shot illustrates this for albern's face. i combined the expression with the puppet tool to animate specific areas, and 'wiggle' them accordingly. it is more obvious on the eyebrows, less so around the mouth.

expressions - looping.

research into coding for after effects or 'expressions' - powerful tools that are used to control high-end productions. i looked at one that could help with a 'kaleidoscopic' visual within my animation, which is a a basic looping cycle.

the red highlighted code represents the key frames which are being expressed, in this case by --loopOut(type='cycle')--. the selected keyframes will loop round for ever and ever with this command.

TRAPCODE.ECHOSPACE

trapcode echospace is a plug-in for after effects by red giant software. it gives control over multiple layers to create ripple, offset, and delay effects. this could be used to create the kaleidoscopic style duplications of peggy within the 'dreamlike' state of mind ive outlined in the script. if i can get a copy this could be a very handy resource.

screengrabs of the software description, and a tutorial where it is used to animate text;

AFTEREFFECTS.3D.

screen-grabs from a lynda.com training series for after effects. this is the same brand of tutorials i first looked at when learning the software, but i've been working through the more advanced training series' this time around.

concentrating particularly on using lights and cameras in 3D space. this will be necessary to create the 'possessed', dreaming state of mind within the animation.

final drawings.

afew sketches later, these are the final two. front view of the television, and albern sat in his armchair, complete with a cuckoo clock, trestle table, vase, wilted flowers, dado-rail, and vine stripe/floral print wallpaper. i wanted to create a grainy/washed out aesthetic, so used a combination of thin overlays within each individual layer. specific alterations to the depth and tonal weight of the composition can be done in post-production, using 3d cameras and lighting.

further character development.

considering the living room setting, and visual clues to inform his character to the viewer.

some examples:

albern body.

having finalised the peggy character, i need to create a body to fit the face of albern. i want to play on the initial 'wiry' structure, and imagined rubbery/creature-like quality to the skin. however the crustations and circular features of his face should not be taken too far- needs to retain a human quality.

i created a moodboard that considers this frame to the fullest.

STORYBOARD.

Animation context and verbal commentary.

INTRODUCTORY CONTEXT:

1. mundane setting is suggested with complete silence bar the clock pendulum, tick-tock. black and white/colour/sepia tone?

2. albern sat in the living room staring (glazed) at the tv, represents a reflective/wandering state of mind - audio crackles in and out, then eventually comes through.

3. eyes flicker open and closed, tv channel interference. - drifting in and out of consciousness/reality.

4. when eyes come to rest, image of peggy appears clear on tv screen.

5. begins transition of animation in 3d space/multiple expressions. POSSESSED state of mind.

peggy.

final image.

'conventionally cute' appearance - big eyes, petit figure, polka dot dress, frilly socks. long legs and short dress combination plays on a more sexual/suggestive look. soft tones with bold colours. innocence.

development.

peggy sketches.

similar, 'wiry' textures to albern. mix of conventionally (good) looking characters. human qualities, steering away from creature-like appearance.

background story/script.

albern. 60 year old man, lives alone in a wooden cabin in the deep south. parents, aunties, uncles, have passed away. has no brothers, sisters, nieces, nephews, cousins, or pets. no partner, no children- no direct ties of love and affection. recently retired field worker, passes the days watching day time tv

feedback from crit.

thinking about the bigger picture. i need to understand the background of the narrative, i.e the relationship between the characters, although its not important whether this is apparent within the animation.

initial character drawings and sketches ok - albern. however the 'other' character needs to be defined in this way, and his/her/its appearance in relation to the script.

use of colour, how this could represent feelings/emotion/significant events.

overall context, and how it may reflect the lyrics in the music. - 'obsessive love', need/longing for it'.

albern.

i did some more refined sketches, and was particularly happy with this one. a hairy, wiry frame, with crustation-like features. demented/crazy looking eyes. receding hair.

library research.

"extra-terrestrial illustration".

library research (character based illustration)

animals. vector imagery. 3-tone colour





contemporary illustration vol. 4