Roughs for shots 5 and 6

I managed to get another 11-odd seconds of animation finished this week, this time focussing on one of the shots with the panning camera. It was a challenge to get it to look halfway decent, but I feel like it's a good start.

Shot 6

Shot 5

Second Rough for Shot 8

Following the BPT I did for the man, I went in and did a quick rough pass for the bird that appears in this shot in an attempt to get its arcs and movement looking right. I didn't focus too much on the artstyle, most of it was figuring out where the easing in and out and the flow of the animation would be. Personally I think it worked pretty well, so it shouldn't be too hard to chart and clean up.

Shot 8

Rough drafts of shot 8

Here are the first blue pencil tests I did for shot 8. I tried to focus mainly on getting the shot to look right without worrying about keyframes, but the first draft was really lackluster as I was being way too precious with it.

Link to first BPT on Vimeo

Prior to getting the second one done, I had a lengthy discussion with Neil about what to do with the animation and how I should be tackling the BPT. He also worked into some of the earlier bits of animation to visually demonstrate how I should be tackling it. Thanks to his advice, I got a pretty solid idea about how to rough out each shot efficiently and give myself a mass of work that I could easily polish later on in the year.

Link to second BPT on Vimeo

Pose tests for Shot 8

the shot that I wanted to start animating was actually the 8th shot in the film, as I felt that aside from the final few segments, this is where most of the characterization would take place through animation.

Admittedly, I can add more keys when I get into the animation, but I felt like these would work as a guide to help solve most of the issues I would face when roughing the shot out while still giving a lot of leeway for extra keys.