Clean scan tests

These scanned images were processed identically, the left hand scan was made using a sheet of foam to hold the paper flush to the scan-bed despite the peg-bar. This should save many problems when it comes to digital cleanup. My next studio campaign is for decent lighting on the line testers!

Pearce Sisters - go and watch the film and also the documentary. Very warped but very relevant to our 2D - 3D endeavours.

Some other sources of inspiration which haven't yet reached the blog are:

Pyrats - and many other Gobelins films which are beautifully finished using a lot of 3D reference and background.

Cerdric Babouche - is an animator who we looked at a lot last year for his use of 2D - 3D composites.

Very rough interior test.

Model Sheet Numero Uno...

Thoughts....

Had a stab at recreating Kieren's Emily colour test on this, (not so), cleaned up animatic panel of Edward in a very spider-man esque pose.
Have we noticed just how much the notion of flight is present in this story? Apart from the obvious; the title; name of the engine; and the presence of the falcon; we also have our heroes 'flying' from their old lives.
The above pose has Edward flying through the air, a pose also seen earlier in the film.
The Train 'flys' through a high mountainous region on a high elevated track.
In contrast, we've made our villain a heavy figure, not as suited to flight as our light, athletic heroes.
Just something to keep in mind as the development continuous.

This is a test I made for a now dormant 2D-3D project idea which Luke Smith and I worked on in level two. The moving shadow marks where a 2D animated creature was to be composited. Excuse the stretched video on you-tube.

First the crater was modeled, lit, and rendered from an orthographic plan view. This shading reference was painted over in photoshop and re-applied as luminescent planar projection texture.

The final render uses no light sources- the shadows are built into the texture by hand. This was easy to do as the model was very flat and lent itself to planar projection.

For a similar effect to be attempted on our more ambitiously shaped mountains the process will have to be adapted for UV mapping. Any advice or ideas on how to create a UV mapped shading reference to be painted over would be much appreciated!

UV map for rough carriage interior

Quickly done to serve the animatic and animation test, this UV map will be textured by hand on the light-box and coloured digitally to match the look of the drawn animation.

Animatic Update

Just to announce that the character layers for the animatic are now finito! So this means can start compositing and doing timing tests asap. Rough scans are a go-go but would ideally like to do some kind of colour work on them eventually. Would be good to get the team together to have a look and a think about the next step before we rush straight into after effects with them.

Interior Concepts

Watcha think of the colours? I prefer the last colour scheme.

Interior render

Rough model for the new animatic and test should be ready to UV map soon.