Grad Film Journal

Upon starting this project, I changed my mind many many times about the story I wanted to tell. There was only one thing I was sure about: that I wanted to use what I had learned in 3D during this program and more.

My first love has always been drawing, and I cannot quantify how much I learned from Shaun and Steve in this area since I started, however, they also told me to take risks and experiment. I cannot see a better time than now. I have a great support system in terms of tutors and mentors and institutions.

Secondly I know I wanted something very personal. I have always been a person that likes to laugh and share the joy around me, I wanted my film to transmit that. In such a world that we live today, it is so beautiful to just forget about it and laugh, even for a second. Animation has always done that for me, that is what attracted me to it.

After agreeing on that, I wondered which character could best represent this trait in my personality. As long as I can remember, we had had cats at home. Dogs too, however, cats have always been the ones related to the funniest stories, the ones that cheer you up in dark times. I cannot remember how many times I said out loud how I wish I were a cat, with no trouble and worries but just eating and sleeping all day. Because that was essentially what all my cats were doing. I always had lazy cats whom would just move to get some food. I weirdly related to that.

That is how the rough synopsis came out. I wanted to establish one strong character, a cat, with so much personality he would be the story. I wanted him to resemble me, in its flaws mostly. I wanted him to be lazy, fat, annoying and loving food but also stubborn and determined. A cat who has an idea and does not give up. A metaphor for how I never give up on what I want. A metaphor on how I got into this program in the first place.

I cam up with what may seem a simple problem that would be meaning but also joy to the piece. This cat is bored and he is dreaming to be something more, to do more (just like me), he may just be too lazy for it. But then his owner brings him a challenge, a box. This cat is wondered at this box. What is it? Do I fit in it? Should I try? Why is it so hard to try and fit in it?

The cat tries every way to fit in this box but he is too fat. I found that also very poetic. We all try to fit in a box after all. Finally, after twisting his body hard, he fits in. He is proud. But so much of him is covered. He is stuck.

Then the owner comes back and puts a plate a food down in front of him. The cats wants to get to it, but he cannot move out of the box. He tries and tries but nothing gives. So he starts giving up, maybe this box will hold him until the end. Nevertheless, the cat thinks about his inspiration, the tiger, the one he wants to be and in his last attempt to get out, breaks the box, completely breaks free of it…. to land face first in the cat food thus sending it all through the window.

I thought this simple story was holding so much of me and what I believe in , I wanted to pursue on it.

I consulted my tutors and mentors and them gave me advice, on the storytelling, the 3D process and the character. Most told me to look at Simon’s cat for reference, especially in terms of timing and behavioral animation. Simon’s cat are little animation episodes about the same fat cat and his owner Simon.  The stories are usually hilarious and effective.

I then researched more into strong cat characters in animation such as Lucifer in the 1950 Disney’s Cinderella, or more recently Puss in Boots in Dreamworks’ Shrek or Chloe in the Secret Life of Pets. I looked at a character design book and magazines I own from 3D total publishing.

I led extensive research in cat’s anatomy as well as pictures and videos of cat expressions, manners, habits and videos of them climbing into boxes,… Thankfully I also happen to have a fat cat at home, which turned every moment of me seeing him a study session. I would be moving his legs around to figure out the degree of movement or stretch his face to see what expression it could shape.

I also looked at cat 3D rigs and models to get an idea of the sculpt I wanted to make.

Upon starting, I had to look at tutorials online, mostly on Lynda.com and consult google constantly to start shaping the 3D sculpt. I started weeks early since I knew it would take me longer due to my inexperience. Shaping the main character was fun as well as learning a new software actually. Zbrush offers an interface that allows an artist to actually sculpt without worrying about the coding.

I presented this to my mentor as well as a lady in the industry who has given me great feedback since I started. When sent in, she sent me back this screenshot of my model, with all these notes to make him more balanced. So I created a new model respecting her indications. Then I compared both versions. The one she suggested looked more natural, however I was biased the first version had more personality, with a bottom so big and far back, it looked like the cat would tip. I was so torn I made a poll on social media to ask people to help me choose. The first version was very tightly declared winner.

The harder step was to move the sculpt from an artistic software to Maya, doing the retopology was quite a challenge since, in order to make the sculpt lighter in terms of polygons to reduce the file size while animating , you have to create a 3d grid around your sculpt. I have now been on the retopology for a week, reworking the polygons so nothing goes wrong later on. This step has taken me longer than it should, however that is why I wanted to start early and get as much advice as possible. I have been talking through the issues I could run into while modeling, rigging and animation with Kevin Rowe, our 3D tutor to get a head start in researching and listing those issues. There are three main challenges to this animation: the way the head and body are going to squash, stretch and deform in order to accomplish a cartoony animation, the way a packing peanut is going to have to be stuck to one of the cat’s paws and how spatially accurate the animation needs to be. Thankfully, Kevin gave me advice on these issues.

Moreover, talking through my animatic with Steve Roberts, Sarah Woolner and Clare Murphy allowed me to improve the overall story and rythm.

The retopology was quite the challenge and I spent most of the time correcting my mistakes. Everytime I would fix something, something else went wrong. I finally made a proper mesh with less polygons and go on to the UV mapping. Another challenge, everything is new, so I make mistakes, however this character cannot have any mistakes on it or I will not be able to properly animate him. After many trials, I finally was able to export it on a new software, substance painter, to paint the model with a bit of texture on. However, another problem of exporting and importing is the loss of data, which I ran into many times. The problem is usually the compatibility between the two softwares which can result in a loss of texture.

Upon starting the rig, I knew this would be the most difficult part of the process. The rig allows all the parts of your character to move properly. The more the character is cartoony and exaggerated, the harder it is. My character is basically a mix of 2D and 3D. I wanted a character that used all the personality and characteristics of 2D animation into a 3D environment.

My character has a lot of animation that resides in the squash and stretch and extreme actions and faces, typical of 2D animation. So when making a rig for it, the software basics will not understand what you are trying to do. I would have to understand exactly how the cat’s body works and reacts and moves but I also need to know Maya perfectly to make this happen. There are so many options and ways in Maya, and this being my first time, I am having quite the trouble. On recommendation, I used Advanced Skeleton, a plugin that allows you to make a rig easily. The software is great if I were using a normal cat, however, mine is very different. A very expressive face, a fat body on very small legs, that is the source of many problems for a rig. The only thing to do is ask for advice and be patient and meticulous. I have asked the software team as well as my mentor for options in my case. I have been on this rig for 4 days now and have not found a solution. However I do not despair, the more I try, the more I understand the issues and the what the body needs.

I am a very stressed person so failing so many times is quite a toll on me. I am also not really the tech person so this is really a personal challenge. What I would do to get it through is usually work on another task for a day so my mind can breathe. For instance I was able to correct my animatic that way and build the room in 3D.

Building the room in 3D was a fun breath from what I was doing because the room I designed is very simple with few elements. It also gave me the opportunity to experience with modeling and textures in Maya and Substance Painter which is a 3D texture software.

However now I am back to rigging and hopefully will find what works for my character.

After a lot of fails, I finally have my body rig as well as solutions to my body rig problems. I used twist/bendy and free orient options for my joints and I will paint the weights on the legs to avoid further deformation. Since the legs are so small, the deformation needs to be exactly the size of the joints. Moreover, on my mentor’s advice, I will add a squash nonlinear deformer on the body which will allow it to squash and stretch properly.

I finally got on the most dreaded part of the animation: the facial rig. With my animation relying heavily on facial animation, I had to take this part very seriously. Once again, many versions saw the light. In the beginning, for about a week, the facial rig was appearing on the wrong part of the body. It took me many days to understand the body and the skeleton were not aligned properly for Maya. The cat’s body was on 0 on the x axis while the rig was at -180 on the same axis. Everything needed to be at zero. I finally found a way to align them and started on experimenting on the facial rig. A facial rig is a lot of points that need to be aligned properly with the right stretch/squash and deformation for it to work. It can get quite confusing and overwhelming.After two weeks of trying to work out the Advanced Skeleton facial rig, I understood my character was somewhat too cartoony to properly work with this plugin. It still got me help on the rig, however, I cannot keep wasting time trying to make it work. I am going to have to work with what I have. Tomorrow is the official day when it is recommended to start animating. And while I do know animating in 3D should require less time than 2D, I would like to follow the schedule provided by the tutors. My character is not quite ready yet, I believe I will need one more week to finish it. I now realize it will not be perfect, and that is frightening, I put a lot of pressure for myself on this project, but the control freak in me needs to keep on moving to deliver a complete animation. I am now sculpting my own blend shapes, a series of 3D models with different expressions. This will allow me to help with the mistakes on the facial rig. It also allows for more extreme expressions. The problem is it takes quite a lot of time, nevertheless, it is relaxing to model for a change. After that I will give a last attempt trying to fix the mistakes on the facial rig. I have rigged the ears and need to rig the tongue for some of my scenes which should not take long. Finally I will experiment with non linear deformers and fur textures. 

Then I will move on to animation. The room for my animation is ready so I will only need to place the lights and decide how I want the rendering to be. From what I heard, rendering takes quite a lot of time, so I plan to do it scene by scene. There is a lot more I am going to discover along the way I am sure, but I am happy to get to and end for the rig. It has been a lot of work and downs and time, about two months now trying to figure it all out. I have learned immensely during that time, people do wonder why I did not take a model ready or hire a rigger, however tome it was important to go through all these steps to truly learn about the 3D process.

Upon starting the animation, I realized my topology and rig were all wrong. I went back all the way to the beginning and restarted on the topology. I made sure everything was even and smooth. Later on, I reworked on the rig. I finally understood what the problem was. Because the cat I created is very cartoony, it should not move lie a cat. Its legs are short and straight. So I created my body rig using a blend of cat and human skeleton. While the spin works like a cat’s one, the legs work like a human’s. In addition to that I added a freedom of orient on the knees to allow for more motion.

When this was figured out I moved onto the facial rig. I wanted to do this without using an automatic rigger. I experimented with soft mod controls, no controls and finally chose to manually place the joints on the face, parent them to the head joint and use nurbs curves as controls for the animation later on. Moreover, the first year student helping me for two weeks will create the blend shapes we agreed on to complete the facial expression palette.

During this time, we were introduced to the Royal College of Music students who will compose our music. This meeting was hugely beneficial and allowed me to define a bit more the tone of the animation. The students all had the idea to attach a melody to the main character to add more personality to it.

Later on, we were introduced to our assigned first year students. I was very excited about the possibility of working someone’s strengths into the project but also hopefully teaching one or two things. It started really well until the student I was assigned to was reluctant to helping because of his assignments. In the end, no help was given and I redid the blend shapes myself as well as experimenting with the fur. I completed the facial rig and tomorrow will be my second trial at animating in 3D with the new version.

3D animation revealed to be more of a challenge than expected. The whole process of animation has to be learnt again from zero with a different perspective. I now animate with controls and less freedom. Yes the software will in-between, however it will probably not do exactly what I want. The difficulty moreover is working with a rig that is not 100% correct. Maya does not realize or account for those mistakes. While I used to freely draw extreme keys, then do my breakdowns and in-between and later on easily correct my timing or movements, now the process is completely different. I use auto key to automatically save the movements as soon as I choose a control, however, many times I have found one had not been keyed. Moreover, the more you add keys in Maya, the worst it is, so all you want to have really are strong keys and in-betweens with an ease in and ease out if needed. Because Maya adds automatic curve to it, you might find yourself with difficulties you would not have in 2D. For instance, I downloaded a female rig for my minor second character. When using this rig, I realized there was a problem on the knees. The deformation was also impossible to correct since the rig was not mine. This you cannot really work out as adding more in-betweens to try and correct it will look ragged and incorrect. Another problem I had with my rig is that the eyes, tongue and teeth were not attached properly to the mesh. It meant extra keys for the teeth and tongue, which is a problem I can handle, just requiring more time and attention. The eyes however were acting like they were not part of the body. Thankfully this could work thanks to the cartoonish style of the film but presented me with a lot of challenges.

The animation is moving along slowly, slower than what I am used to. However, practice makes it easier and easier everyday. I finally understood I need to quickly animate a first version with no fuss before I can go back and refine the timing, poses and camera angles. This is important to finish the project in time but also to have a version to present to the composer early to get the tune in accordance to the animation.

3d animation feels as if learning animation all over again. I expected it to be similar in some ways, however the more I go on, the more I understand how completely different it is. I move controllers one by one, making sure to key all of them properly in accordance to the others. I am mostly experimenting with the timing since I found out it is completely different from 2d. Everytime I think about a 2d timing, it turns out too fast in 3d. What I do is I put two keys, put a breakdown and see how it works. If it is too fast, then I space the keys more until I am satisfied. It is very much discovering and exploring 3d, which means the more I go, the better the animation gets. However, the beginning of my animation is sloppy and I would like to go back and correct it if I have time. Another thing with 3d I learnt is you need to go fast and finish a basic version before going back and fixing it. In the beginning, I would just stay hung up on a scene for more than a week trying to figure out the subtleties. After loosing a lot of time I understood the way to do 3d is work on a basic version of your keys, breakdowns, timing and spacing, then put everything together and correct camera angles, transitions and animation.

I have finished a rough cut of the entire piece. It is now five minutes. From what I can see this is because some of my scenes are too slow. When animating on Maya, the only way to see the real speed is to play your animation on playblast. If you play it on your animation timeline, the result will usually be faster. This is something I did not realize until later on, explaining why the first scenes are very slow, and others are very fast. The other big problem I noticed are transitions. My change from one scene to another are not smooth. Moreover, some scenes I feel are not necessary so will need to be cut out. It feels like a gigantic task to do in only a week since these are little things here and there to be take care of. I have decided to proceed two scenes by two scenes. Checking the timing, cutting if necessary, correcting the animation, camera changes and transitions.

The editing is a very important part of 3d. To make my animation more effective, I have cut from 5 minutes to 3. I took off everything that was not working and fastened the pace so the comedy is snappier.

Checking every scene and correcting the animation is also an essential step to the 3d process. While I correct every scene, I work with my composers to create a soundtrack that will define “Fat Ass Harold”. Hand in hand with the sound designer, we are working all together to get the perfect sound to enhance the animation.

Last Cut Crit, the Final Run to Deadline

As deadline is upon us, we suffered our last crit to guide us into making a better animation.

The final crit is always brutal. It is the last time tutors and professionals can tell us what to work on or fix before hand in. This makes the last three weeks of term an even more stressful period.

For me, it is an opportunity to understand where my weaknesses lie. As a beginner in 3D animation, it has been hard for me to understand, when a piece of animation does not work, why. It was nearly impossible for me ,after working on the same scenes for months, to understand where the problems lied.

I was told to first of all shorten the animation and focus fixing what I had left. I cut my animation from five minutes to three. I took off all the scenes that did not work or were not absolutely necessary. I also fastened the pace of some shots that I found too slow.

I also had too many camera angles, which confused the audience. I therefore took them all off and kept one wide angle with some close ups.

My other problem was getting used to 3D animation. Indeed it is not as efficient or fluid as my 2D one. The problem is, animating in 2D has become natural, where I instantly draw how I see the action without thinking about it. In 3D, when you move the controls, you lose this sense of what is working or not, thus making your animation ragged and unnatural.

Moreover, I need to move the core of the character before moving anything else. Sometimes, in my 3D  animation, I forget to drive the body starting with the core.

Identifying all those issues will allow for a better animation at hand in.

A Month Until Deadline

A month away from the final deadline, I am finally getting the hang of 3d but severely lacking in time. I knew setting up a 3d character and getting used to 3d animation would take some more time, however, I did not expect it would take that long.

I have always been a perfectionist, so rushing on a project and not being able to go back and correct the animation until it is perfect is a hard step for me, especially considering this is the most important project of the course.

This project has been very stressful for me, and I sometimes wonder if I put the bar too high or expected more than I could do. However, I have learnt so much during this project, the good outweighs the bad. I only wish my project would be perfect, to show people how hard I have been working.

Since the beginning of this project, all I was waiting for was finally able to animate, because it is what I want to showcase, what I learned in this animation course. I am definitely having fun trying to figure out how to animate in 3d what would have been so easy for me to animate in 2d. Nevertheless, the stakes on this project are high, and the stress of delivering something efficient makes this harder.

I have still 2/3 of the animation to do, and even though I have a daily goal and I am getting faster in work, I am afraid to have to cut some moments out to be able to deliver a better animation. I believe this project is also about making these tough decisions to fit in the schedule while still delivering a quality animation.

2D Animation vs 3D Animation

Since starting animation, I was always drawn to 2D because a pencil had always been an extension of my hand. Drawing always came so easy to me and I had always loved it. However, I knew this project would be the only chance for me to experience 3D with such a supportive surrounding.

I always also thought the worst thing I would go through in 3D animation would be the rig. I dreaded that the most.

Before starting the proper animation, I was advised to watch hours of videos from 3D animation professionals explaining the basics of 3D animation.

In 2D animation, I had a control and freedom to draw what I wanted, exaggerate what I wanted, change anything at any time, just draw what I felt. Every animator had its own method, what I would do is first put my key poses, check the timing and then just fill in the rest, sometimes drawing by drawing, sometimes adding breakdowns and then putting in betweens.

In 3D animation however, everything is different. The freedom is not there anymore, you can be restricted by the rig, the topology and the computer. It is very hard for me to get used to this. Because I used to be able to control everything before, the animation was completely different. It is now more technical. I need to key every control, put strong keys and breakdowns and check the computer is filling the rest properly. Because this is my first 3D sculpt and rig, I obviously have little mistakes here and there, but it would send me back too much to correct them so I have to work around it.

I have always been very picky and strict in my work always, and I had always been in control. In this project though, it is all about working with what I have and making the best with it. I am sure this is a technique to get used to, but as a traditional artist, it is a radical change that I am happy to work on while a student.

 

Alita Battle Angel

Everytime I go to the movies, it feels like work. I catch myself trying to study the animation and the special effects.

It is almost impossible nowadays to see a movie that does not require some background computer animation. In Alita Battle Angel, I set myself up to some headache.

The movie is based on a manga by Yukito Kishiro. In 2563, a cyborg is rescued by a doctor and nursed back to health while trying to remember her past. The action is set in Iron City, a trash city under the glorious Zelma, a flying city no one can get up to.  The whole movie features robotic bodies and weird human machinery, all this in a futuristic world.
The most surprising is not how freakishly real those robotic/human bodies look, it is the performance of the main character Alita. The contradiction is maximal. An actress performs and is then rendered into a 3D character that needs to look real. Her eyes are bigger, but that is basically the only thing you would notice in her human face.

I watched some reviews and behind the scenes videos of this huge production, produced by James Cameron and in partnership with Weta.

Alita’s human face had about 5000 iterations to make her emotions look real and the animators had to meet with plastic surgeons to fully understand what was happening behind a face to then re translate it in animation.  Alita was all about motion capture and performance capture meaning that not only her body but also her face were closely recorded and translated in 3D the way it was many years ago for Gollum in Lord of the Rings and for Avatar. The difference here is we needed for her to almost look like a human, making her reactions as close as Rosa’s. The main focus was faithfully re translating the nuances of human acting.

Once again the advancement of computerized animation go beyond my belief.

How Music Can Complete Animation

This week we were introduced to the Royal College of Music students who will work on the music for our animations.

While preparing a pitch for them, I realized I always took the music for granted, never really realizing the effect it has on the animation.

An animation or movie without music can feel very empty. Tom and Jerry was based on the sole principle that animation is amplified by music. So are the early Mickey Mouse shorts and later on the Disney feature length movies.

Music can even introduce a character, define it. Such as the Hobbit melody in Lord of the Rings for instance. Everytime the Hobbit would come on screen, these notes would start playing, in a such a manner that every time someone hears this song, he/she immediately links it to these characters, expects them to appear.

It can accompany a situation, like it does in How to Train Your Dragon. One scene called “First Date”, follows a clumsy dragon trying to attract its mate. In this instance the music changes with the situation. In the beginning it is clumsy, and finally when the dragon gets confident, it gets happy.

Music can also set a mood. We know a scene will be scary when we hear slow, spooky notes.

I started thinking about my animation in terms of music and notes, trying to describe to the RCM students what I was looking for.

Finally, a few of them were eager to work on this project. Each added an element to the table. We agreed the best option was the “Mickey Mousing” technique which syncs the accompanying music to the actions on screen. This allows the music to participate in the action and value it even more.

Visual Effects vs Craftmanship

In the last decade or so, I have noticed an immense growth in the use of visual effects in cinema and television. This is something that affects animation directly. I have always been a fiery defender of 2D over 3D use in animation. It is quite ironic considering my grad film is almost entirely 3D, a process I wanted to try out. Nevertheless, I believe this growing use of visual effects and computer software has now considerably lowered the level of craftmanship. In a world where everyone uses a computer, no one knows how to hold a pencil, even less draw with it.

I do believe the reason for this change was money, but also the possibilities to form more people, people who could not draw, to animate.

This led to one uniform style, feeding us what the mass wants to see and what the mass can do, over true talent and hard work. Well, 3D is hard work, but it is more like coding than art. Will people never know about the exhilarating pain of drawing 24 pictures per second? Of having hundreds and hundreds of layers of colour trials?

I was reminded of this truth when watching two very different movies in a short periood of time. The first was “Aquaman” by James Wan, a director known for his horror movies, while the second was “Nutcracker and the Four Realms” by Lasse Hallstrom and Joe Johnston.

I have always been a fan of the superhero type movie, also was I very disappointed when watching the movie. The problem, in my opinion, is the overuse of visual effects. The lack of authenticity from the world created as well as in the actor’s game. Everything was done using visual effects, even the hair, giving a sense of wrong throughout the whole movie.

In “Nutcracker and the Four Realms” however, the production designer Guy Hendrix Dyas wanted to build as many sets as possible to avoid the use of green screen for the actors and the audience to “feel the reality and almost a tactile experience.” “You can feel the difference between virtual sets and real sets.”

The Land of Sweets for instance was made with real candy while the Land of Flowers used real flowers. The production designer called to many different talented craftsmen for this movie, just like Lord of the Rings had done.

The use of 3D was limited to what could not be built like the Mouse King. Nevertheless, the rest was real, even the 30 foot marionette housing Mother Ginger. In the end, this produces a much more real, visually beautiful experience.

Visual effects had been lately used as a monetary solution rather than a craft, thus spoiling its effects.

Discovering 3D Animation

The biggest challenge I have to face for my grad film is the use of 3D. I decided to do it as a personal challenge, to get out of my comfort zone and experience  a different type of animation.

Upon starting this project, I decided to ease up the process and start with a 3D sculpting program, Zbrush, to create my main character. This software, a more artistic one than technical one, allowed me to give the shape I wanted for my character. The interface took a bit of getting used to, but the reflexes were the same than drawing. The research I had to make was very little, looking online for shortcuts and easy ways to do this and that.

However, when importing the mesh into Maya, that is were the real work started. I had to start with retopologizing the mesh, meaning rebuilding the model with a lower number of polygons. I learned later on, that I made mistakes during this process. I did not follow the proportions properly, not giving circular shapes to the important elements.

I noticed this upon taking the next step: rigging. I used Advanced Skeleton, a plugin that gives you basic rigs that you can then shape. The body took quite some time, and I had to make extensive research, using the plugin’s website and Youtube channel as well as Lynda.com. After emailing my mentor, I had a pretty good idea of how to fix the body rig issues. I decided to get on to the face rig. The problem is the face polygons are not regular and not all connecting to each other properly, thus making it, for now, impossible to rig. Going back to the beginning now would be erase a month of work. I do believe now that I would make it faster, nevertheless, I hope to find another solution.

For now 3D animation has been mostly about learning from my mistakes rather than classes or online help. I hope to make the character working well for the final animation.

Why is Walt Disney Company Repeatedly Accused of Sexism

Like most kids, I grew up watching Disney movies.I never wondered about subtext or hidden meaning.

However, integrating this character animation course, the issue was brought a few times. After a while, I finally decided to look into it. I wanted to know why people would make these accusations.

After reading many articles, I could point out two areas where Disney would be accused of sexism: in the workplace and in their representation of women in their animations.

According to my research, it all started with a letter addressed to Arkasan Mary Ford. Mary Ford applied as colour artist at the Walt Disney Company in 1938. She later received a letter saying: “women do not do any of the creative work in connection with preparing the cartoons for the screen, as that task is performed entirely by young men. For this reason, girls are not considered for the training school.”

Someone could argue these were regular practices at the time.

Nevertheless, in 2011, a woman was fired from the Walt Disney Company. She filed for wrongful termination, accusing her supervisor of telling her she had to “choose between working and being a mother”.  The dismissal was blamed on restructuring, however, she was promptly replaced by a young man.

In my opinion, sexism in the workplace is unfortunately still very usual, women do have to fight and work harder than men to prove themselves. It is not a myth but reality.

The other aspect in which Walt Disney was accused of sexism, which I would like to discuss, is the representation of women in the movies.

Starting with the first feature length Disney animation: Snow White.  The movie was highly criticized for representing, in Snow White, a docile and domestic woman. A woman, that would be properly covered, would stay at home, cook and clean, and have no claim.

In addition, recently, Sleeping Beauty was blamed for giving a wrongful idea about sexual consent, more particularly in the scene where the prince does not ask before kissing the princess.

Moreover, there were claims that many movies were representing helpless women waiting for a strong man to come and rescue them. The prince in Snow White, Sleeping Beauty, Cinderella and the general Li Chang in Mulan for instance.

In The Little Mermaid, Ariel is under a forceful patriarchal law until she refuses her own nature to gain the love of a man, who rejects her.

In Beauty and the Beast, it can be argued that Belle is suffering of Stockholm syndrome after the Beast kidnaps her for the sole point of making her fall in love with him.

Lastly, people were feeling the women were giving an impossible body goal and women objectification. All women have long legs and tiny waist. In Aladdin, Jasmine wears clothes that resembles more a men’s fantasy rather an historically correct costume. However, I blame the rise up of anorexic models in fashion and social media to give impossible body goals rather than fantasy cartoon characters.

After reading these articles,  I believe if we are looking for something wrong, we can always find it. I decide to take the best in those movies. Each of these female characters inspired positive traits of characters. Snow White inspires to be brave, Cinderella to be kind, Mulan to be fearless, Belle to be accepting, to see beyond differences.

I have watched these movies tirelessly being a child, and no matter the criticism, they made me hopeful and positive. I have also grown up to have ambition, to make my work the first priority and to fend for myself.

Movies do not shape you, you shape yourself.

ENO Project Journal

First day of finding a dynamic as a group.

What is amazing is Rishabh wants to use all our geographical and traditional background to create a animation that would talk about the refugee crisis happening in Lebanon, where I am from, in India, where Rishabh is from, and Taiwan, where Erick is from. This would help make the idea universal and rooted in the present events.

So I started looking at art that Lebanese artists, photographers, painters, street artists’ work done in reaction to this migrant crisis that happened at the beginning of war in Syria. From then, we extracted the key visual elements and artistic references we wanted to include in the animation.

For me, this research was a way to dig deeper in the Lebanese artistic scene and look at new work that developed with the Syrian refugee crisis. I got to look at this situation from a different point of view.

I already had knowledge of the Lebanese artistic scene, most specifically the street art scene. Before I moved to animation, I was part of this scene.

A man famously known as the Lebanese Banksy is the first artist that came to mind when thinking about this research. Usually making famous Lebanese artists faces, this man had taken upon himself to now represent faces that marked the capital, including syrian refugees after the crisis started.  His voice started reaching out and he wanted to shed light on the situation.

We therefore decided to use one of his mural as a reference towards the end of the animation.

Putting everything and cleaning it up in illustrator was a new challenge for me. We each divided the scenes and took care of a few numbers. I get the easy ones to get used to illustrator and vector illustrations.

I am working mostly on face close ups and the two main tigers as I have Rishabh’s primary illustrations as a guide.

We had our first meeting as a group on friday with Christopher and Natasha at ENO concerning our rough storyboard. All our visuals are cleaned up so modifying it will take some time.

The advice given was very helpful. Showing the story to a new set of eyes allowed us to see what was missing in the continuity and see how the story could be easily understood by a new audience. We were told to root the two main characters, the tigers to a place, and have this place destroyed by the flood. We want now to show this relationship, root the tigers to a home , have this home taken from them by the flood, explain why the tigress is sad to leave.

The other thing we needed to change was the pace of the music in relation to the story. The music quiets down in the end, with english words singing while action is still happening (the tigers are swimming). Christopher and Natacha thought the music should come later when we see the rack as a sign of hope.

Overall they liked the story, the influences and references as well as the visual style. The changes we need to make are minor.

So we started cleaning up a new storyboard. Rishabh also asked me to start working on a rough running cycle for the tigers which I am going to try doing on adobe animate for the first time.

After trying on animate, I went back to the TVpaint roots. I hope I have time to later discover animate, however for now, time is too tight. I guess we are going to need some getting used to anyway, trying to find the perfect way to execute the project. 4 legged running cycles have been a challenge for me so I am looking forward to being able to figure it out properly and make it work in the movie’s visual style.

Today, thursday the 18 of october, someone came in to give us the last bit of advice for our animatic. Once again we thankfully do not have much to change and the advice was really well given. It was about planting the decorum and situation from the beginning (the houses are being destroyed, something bad is about to happen) to resolving the situation in a smarter way (seeing the boat earlier in the story and including from the middle of the piece). These are all the little things that will help the story get to the audience quicker and more easily.

I finally started on the proper animation part of the film. My first task was to animate the run cycle we are going to use for the tigers. I first looked at some reference before starting the run.My first draft was too fast so I added in betweens and then adapted the style to make the clean up better. Upon looking at the first draft, Rishabh felt the head was too static, he felt the curve should be more exaggerated in the ups and downs positions. I fixed that and sent it to him to clean up. We are starting to figure out a dynamic. I will take care of most of the rough frame to frame animation while Rishabh and Erick, more at ease with illustrator will take care of the cleanup. The issue is the frame to frame animation is a small part of the process and many scenes will be made in after effects, so Rishabh gave me a small wind scene to figure out in after effects. On the side though, I asked to take care of 2 other frame to frame scenes for now. We have the scenes with the flowers blooming and the scenes where the wave crashes down. I am very excited to work on both of these. It is the first time but I love the movement and the challenge it represents. First thing I did of course is check out references. Live and animated. I like to compare them frame to frame to see where animators skips frames here and there to make the animation easier and better. I finally settled on a live reference for the flower, even though the timing is a bit fast for me but I can work that out. For the wave however, it is very stylish, like a character so the movement and repercussions will look very different from a normal one. The foam for instance should be very geometrical or make perfect curves like Rishabh’s style on this animation calls for.

I have completed the tiger run, flower blooming and currently working on the many scenes that will include the wave character. I do feel a sense of excitement as well as stress when I work on this. As a beginner animator, you can be pretty sure every new scene is in fact “new”. It is my first time animating water and I do not want to disappoint. I have been watching footage of waves crashing down over and over for me to have the movement in mind. Still, once the movement is done, well timed, I need to adapt the visual style which can be tricky when it’s not your own. However Rishabh has been very helpful and knows exactly what he wants which makes my part easier to complete.

Rishabh gave me 2 scenes to animate: the chopping tree scene and the movement of the wind we are going to use for the storm scene. I started working on the chopping scene but got really stuck for hours trying to make it look right. I finally had to hand to my group to fix as I was going nowhere. The movement of the wind however, represented by a single line, was much easier. I already had the movement in mind before starting. I played around a little with the timing and that was it.

I am now working on shot 9. Shot 9 is the scene when the tigers look around and look down and notice their home is being destroyed. They start getting angry. This is very much a complicated scene in the sense that it is typical behavorial animation. I need to get the positions, movements between each keys and timing right to make it even remotely resembling a tiger. I have been watching a lot of references online and looked at the reference video from the LAV class to get an idea of how I should animated this. The tigers usually move their head around when getting angry and roaring to attain more ground. They also have these very exaggerated neck movements to make them look more dangerous. I am now trying to apply that to my keys to make this scene powerful.

I have animated a cycle for a tiger climbing a tree for shot 2. I watched a lot of reference for this so starting on the movement was thankfully pretty fast. This movement also does not require a lot of frames so the biggest issue was to adapt the style.

I am now helping design human characters for shot 2.  In shot, we see human cutting trees. Rishabh told me to look at patachitra art for inspiration and reference before creating the characters.

I have worked on the tiger reaching the top of the tree as well as humans chopping trees. I am now going to work on water splash as tigers run while the water gets higher and higher.

My last animation was having the tiger go from a climb to a stop on top of the tree. I had the climb and Rishabh added keys for me to in between as the tiger gets on top of the tree. With the keys ready, it was pretty straightforward to complete the scene. It was more a question of time rather than thought.