Second Animatic from dov vishniya on Vimeo.
This is the first draft soundtrack,composed by Dorian Kelly, with some animation, lighting, textures locations,and props. As soon as i have finished skinning and rigging all of my characters, i will then start blocking the main key frame animations.
Now that my two main characters are almost finished I feel that I should introduce you to them properly meet John and his daughter Dora. John left home in 1914 when Dora was only twelve years old, John went to France to the front line trenches. They will not see each other again for another eight years. The inspiration for Dora’s look came from a 1920s fashion magazine.
The dramatic atmosphere I am trying to create for my film is going to be something between Hollywood’s old fashion sets and the theatre stage painting. The sky texture was digitally painted in Photoshop and applied as a UV map onto 3D cylinder geometry. The house texture was also digitally painted in Photoshop and applied as a UV map onto 3D rectangular geometry. For the cobbled paved surfaces I have used a photo of a cobbled road that I have taken in the old part of Winchester, and applied as BUMP map with 3DS MAX material editor, using black diffuse colour.
This is my first level skinning test. After modelling getting the right topology edge loop and deleting all the unwanted vertices, the next important stage is rigging and skinning (not for the faint-hearted). I have decided to use bones for the eyelids, eyebrows, jaw and mouth. In order to simulate the realistic working of the facial muscles the skin around the facial bones will have to be weighted, and tested,
Facial Bones from dov vishniya on Vimeo.
The textures are not final,and I am not sure about the final look of the hair.
These are some of my ideas for layouts, environments, aesthetics. The plan is to combine 3D geometry objects and characters at the foreground with digitally painted backgrounds and props; the look I am aiming for is similar to what you will find in theatre on stage, and the old fashion backdrop paintings, or matte painting. In searching for inspirations I stumbled across this article which I think will be of great interest to many other artists:
"In the era before computer-generated special effects, budget-conscious film-makers relied upon background paintings to conjure up convincing historical or exotic locales as a cheap substitute for building sets or filming on location. This arcane art, known as matte painting, supplied the illusion of Captain Nemo's volcanic island in 20,000 Leagues Under the Sea,
In matte painting, mattes are used to block out parts of the frame before the live footage is shot, the artist paints in the matted areas (usually on glass) and the two are blended via a double-exposure. Ellenshaw's wizardry with the technique was used on over 30 films for the Walt Disney Studios and won him an Oscar for his stunning settings for Mary Poppins (1964), along with nominations for his work on three other Disney films: Bedknobs and Broomsticks (1971); The Island at the Top of the World (1974); and - jointly with his son and fellow matte painter Harrison Ellenshaw - The Black Hole (1979).
Peter Ellenshaw's connection with Disney began in 1947 when he was hired as a freelancer for the studio's very first entirely live-action production,
He also designed several of the rides for
