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Making Of… ���What’s Under the Leaf?
Fantas&c Voyage UCA Rochester -‐ Year 1
Ruby Newland
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The Life Cycle of a Fern Plant Dr. Peter Klapper gave us 4 different cycles to choose from of which we had to produce a 2 minute anima&on about. I decided to choose the life cycle of a Fern plant as that’s the one that stood out most to me.
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Initial Ideas
I began with a mind-‐map of various ideas once I choose my subject and had done some research on the topic. ALer I started picking out the strong points and the ideas I liked the most.
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Initial Ideas
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Chosen Audience Originally I planned for my anima&on to help engage KS2 children (7-‐11yrs) into science, using diagrams like what are used on the BBC Bite-‐size website. I showed the children down the road what they thought of my anima&c, the younger children enjoyed the style but didn’t understand the science. Whereas the older kids (11-‐12yrs) did and they also liked the cartoony style, so I changed my audience to children in Year 7.
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Further Research From researching my audience and how they learn, I learnt that children engage with colours and cartoons especially around my chosen age range. Keeping this in mind I looked at a variety of different cartoons of which involve the garden/insects for inspira&on for colour and character ideas.
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Developing Ideas ALer researching I produced some more thumbnails, defining my idea: I want to tell the story of the Fern Cycle through the use of a snail narra&ng it, using diagrams to explain how the science works.
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Practice My first prac&ce was the cycle in pictures on a set of leaves with a snail character explaining what was going on in words. Originally I didn’t want a voiceover but this helped me to realise a voiceover might be more powerful. (Video 1)
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Developing Style I got advised to try using the pen tool in Adobe Illustrator to give my world a bit more character and style. And by doing so helped me develop a cartoon style made from shape and lines.
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Artist Influence Charlie Harper and Eric Carle helped me to develop this blocky, shape/line style of work. From looking at their work I went ahead and experimented with pa^ern/textures of which I could add to make my world look less ordinary.
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Thumbnails I had a rough drawing of how I wanted my environment and from this I blocked out a rough version of it in Maya, which helped to paint over to give me different camera views.
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Developing Thumbnails
I was playing around with colours as the original colours seemed boring.
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Developing Thumbnails
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Developing Thumbnails
I want the diagram to be shown on the tree behind the snail, and these are the pictures that are going to explain the cycle. I’ve kept them simple and colourful, which will keep the children engaged.
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Concept Art
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Concept Art
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Storyboard
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Storyboard
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Animatic My anima&c basically was how I could see my anima&on, but aLer feedback it needed some adjustments to help push the comedy side and the science. (Video 2)
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Post Pitch Ideas
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Script
I wanted my anima&on to have a voiceover and aLer changing the script several &mes I introduced an addi&onal character, Roger, so he can have some banter with Sammy, without Roger the script seemed boring.
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Character Development S&ll using adobe illustrator I did some more experimental drawings using the pen tool to give my snail some character. I took some inspira&on from DreamWorks's Turbo and Flushed Away.
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Character Development
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Character Concept Art
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Orthographic View
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Maya Modeling These are some screenshots of the modeling process of my snail. LeL image shows the different views – line, un-‐textured, textured and rendered. Right image shows the orthographic views and how they helped model Sammy.
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Character - Sammy This is a rendered shot of Sammy the Snail with textures applied. To the right is the texture map.
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Character - Roger This is a rendered shot of Roger the Snail with textures applied. To the right is the texture map. Roger was an addi&onal character to help make my script a bit more cha^y.
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Lip Syncing I wanted the snails to actually be talking so I looked into lip syncing them, and used a handful of different mouth shapes to do so. This process was going to have to be done aLer the modeling was complete as I wanted it too look 2D.
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Practicing Lip Syncing. I prac&ced a few &mes the lip syncing using a voiceover I had done to see if the process worked. (Video 3)
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Maya Modeling I didn’t use no Produc&on Art to block out my scene, I just went with a picture and added/took bits away where needed.
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Maya Modeling I added a simple cartoon colour texture to the block out once done to see if this got the effect I was looking for.
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Textures These are the texture maps used on my final environment, I kept some elements just plain cartoon painted.
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Modeling Screenshots – Orthographic View I didn’t use no Produc&on Art for my environment, but here are the side, front and top view in Maya.
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Modeling Screenshots Line View Un-‐textured View
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Modeling Screenshots Ligh&ng View Textured View
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Rendering Screenshots When it came to rendering my scenes I rendered a Depth of Field render also to help depth in my shot.
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Editing – Audition I cut the voiceover by Tom Turner, of which got sent to me, down into the 6 selected scenes to make it easier for me to edit in Premiere Pro. Tom had also done different versions of some of the lines so it helped me to cut and choose the ones I liked most.
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Editing – Premiere Pro Once my scenes had rendered I brought all my components into Adobe Premiere Pro and began lip syncing the mouths to the voiceover. Bringing in my sound effects and background noise.
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Editing – After Effects The next stage was expor&ng the video into Adobe ALer Effects to add the diagrams onto the tree. As this program has no sound it was hard to match up so I had to open the video separately in QuickTime to judge from.
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Editing – Premiere Pro Once I had the diagrams on the tree all set I exported that file then imported it back into Premiere Pro to add the final touches.
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Final Animation –���What’s Under the Leaf?
This is my final anima&on aLer all the processes and hard work it’s nice to finally produce my first 2-‐3minute anima&on. (Video 4)