Final Film
The finished article, so happy, very proud of the whole team, thanks to everyone that's been involved, its been awesome.
Particles and lighting for end of section
Created with particle world, particulate and sapphire plugins.
Male Leap Crouch 2
Ive altered the arms and leg position at the end to make the movement more fluid.
Male leap and Crouch
The timing at the end needs speeding up, but i put enough frames so it is smooth.
Male Leap Test
From this the male will move into a Tai Chi pose, hold it for a second then charge to the centre of the shot.
Test Comp for Male And Dance Refs
Below are the sketches I made when I visited my friend Ray and his friends who kindly agreed to let me sketch them.
Test Dance Render Male
I have created this sequence from my sketches I completed when visiting my friend at a local dance school, I will upload my sketches whern i get my scanner working again!
The timing stills needs to worked on but I am pleased with how it is looking. I plan to use these frames as masks then have footage of ink mixing in water coming through, bit difficult to explain but as soon as its done I will upload new images.
The timing stills needs to worked on but I am pleased with how it is looking. I plan to use these frames as masks then have footage of ink mixing in water coming through, bit difficult to explain but as soon as its done I will upload new images.
Website Purchased
I purchased our website space today, the address is www.toccataofgaluppis.co.uk, and I am meeting with Chris Curruthers on Wednesday to brief him about the design of the site.
2nd Meeting with Dan & Voiceover Recorded
On Monday we had our second meeting with Dan Dalli, and he seemed really impressed with all the progress we had made in such a short time. So feeling positive about the new direction. Chris and myself have been working on refining the shot list for the film, elisha has taken on board the task of the 2D cat animation for the begining section, and Bart has been working on the end montage sequence. I am finishing up the production schedules and will then be cracking on with the character animation.
My sister, Soraya, very kindly has recorded the voice over for the film, and it sounds fantastic. I have just finished editing it to a track by James Horner called Lake Errie Rainfall, which I will upload shortly.
I have edited down the poem so give the peice more flow. The sections choosen are below.
Galuppis, galuppis, galuppis in toccatas,
Cavorting through the moonlight with a sound like rushing waters.
Galuppis are harmonious
In everything they do.
They’re graceful, lithe, and unlike us
They hum the whole day through,
With a deep, contented, burbling sound,
Like a pigeon’s evening coo.
Sinuous are their delights,
To frisk and roll in peace.
Inventing strange new loving fights
Nearer each the other incites,
Enjoyment to increase.
When making love, their clashing horns
In sparks bejewel the night.
They twine together until morn
Has bathed their limbs in light.
They live on frangipani flowers,
On love, and on fresh air,
And that’s why in this world of ours
Galuppis are so rare.
Galuppis, galuppis, galuppis in toccatas :
You’ll hear them now your whole life through,
In sleep, by day, in loving too,
Like hidden waters, burbling streams,
Toccat – toccating through your dreams.
My sister, Soraya, very kindly has recorded the voice over for the film, and it sounds fantastic. I have just finished editing it to a track by James Horner called Lake Errie Rainfall, which I will upload shortly.
I have edited down the poem so give the peice more flow. The sections choosen are below.
Galuppis, galuppis, galuppis in toccatas,
Cavorting through the moonlight with a sound like rushing waters.
Galuppis are harmonious
In everything they do.
They’re graceful, lithe, and unlike us
They hum the whole day through,
With a deep, contented, burbling sound,
Like a pigeon’s evening coo.
Sinuous are their delights,
To frisk and roll in peace.
Inventing strange new loving fights
Nearer each the other incites,
Enjoyment to increase.
When making love, their clashing horns
In sparks bejewel the night.
They twine together until morn
Has bathed their limbs in light.
They live on frangipani flowers,
On love, and on fresh air,
And that’s why in this world of ours
Galuppis are so rare.
Galuppis, galuppis, galuppis in toccatas :
You’ll hear them now your whole life through,
In sleep, by day, in loving too,
Like hidden waters, burbling streams,
Toccat – toccating through your dreams.
My Response
Hi Mike,
Thank you for speaking to Aijdin, I really appreciate your
help with this matter. I will speak to him also, however
we have decided to create the characters ourselves.
I have started to reference vido examples of how i want
the characters to move, and have been in touch with some
dance students to film them also. I have begun creating
the characters in 2D on the computer, I feel this is
the best option as it will not only go well with the piece
but also allow me to create the charactrers exactly how i
want them.
I will endevour to keep you updated regulary about how
this progresses.
Kind Regards.
Sal
Second Email from Mike
Hi Guy's,
Thanks for coming along today and explaining your concerns
and plans for your group film.
Although I was impressed with your intention to try to make
the best of your films by incorporating other media and emphasizing
post production I did think it was a shame you were not able to realize
your original film concept. Because of this I met up with Ajdin and
talked to him about things. He told me he was prepared
to see you in the next few days to resolve this problem and try to
produce models that everyone is happy with. I therefore
would suggest that you take this opportunity and sit down with Ajdin
in the next few days. Obviously if you do not resolve this and cannot create
models you feel are appropriate then you will have the alternative plan to fall
back on.
I look forward to hearing soon how things are going.
Regards,
Mike
Meeting with Mike
After meeting with Dan, we went to speak to Mike, to discuss what we had agreed on with Dan, to see if this was a feesable option. Thankfully Mike was very understanding to our situation and gave us the green light to progress in this manner.
Chris, Bart and myself then sat down together and brainstomed ideas of how to recapture the beauty of the film in an interesting and thourghtful way, we have come up with some strong ideas and have each gone away to create thumbnails for our individual parts, from which Chris will then develop further into storyboards.
This will all be completed by the end of this week, and we have all also begun to start doing tests in Aftereffects of how we will style the film.
I am feeling alot more positive about how things are now compared to a few weeks ago. Many thanks to Bart and Chris for there help, I had kind of lost my way a bit and had been feeling very down about the whole thing. They both helped me in their individual ways to rekindle my passion for the project. True friends.
Elisha has also shown true didication and has been working away on her secondry animations of the birds and insects, she has been a fantastic, so again many thanks to her.
Im felling good and excited about how this will turn out, just like I had been in the first term. There's still alot of work to do, but to be honest, that puts a smile on my face as i love a chalenge and my passion and drive for completing this film in a beautiful and skillful manner are back.
Chris, Bart and myself then sat down together and brainstomed ideas of how to recapture the beauty of the film in an interesting and thourghtful way, we have come up with some strong ideas and have each gone away to create thumbnails for our individual parts, from which Chris will then develop further into storyboards.
This will all be completed by the end of this week, and we have all also begun to start doing tests in Aftereffects of how we will style the film.
I am feeling alot more positive about how things are now compared to a few weeks ago. Many thanks to Bart and Chris for there help, I had kind of lost my way a bit and had been feeling very down about the whole thing. They both helped me in their individual ways to rekindle my passion for the project. True friends.
Elisha has also shown true didication and has been working away on her secondry animations of the birds and insects, she has been a fantastic, so again many thanks to her.
Im felling good and excited about how this will turn out, just like I had been in the first term. There's still alot of work to do, but to be honest, that puts a smile on my face as i love a chalenge and my passion and drive for completing this film in a beautiful and skillful manner are back.
Meeting with Dan
Today we met with Dan Dalli for the first time to introduce him to our film. We went through the original animatics and concepts and then discussed with him the issues we had faced, resulting in the change in direction and style. We then showed him the work we had completed with Aijdins character.
After viewing our work, whilst Dan felt we had completed the new work to a high standard, he reenforced what we had all been feeling that we had lost the essence of the original story. He felt that the character was too scary for the film, and that the loss of the female diviated too much from the poem fromm which the piece was originally inspired by. Something we had all felt. We had been trying to make the best of the situation, but if Im honest, watching the original animatics, I felt quite emotional, as it reminded me of how much of the original concept we had had to scrifice.
Dan first asked if one of us could have decided to remodel the characters, but i pointed out that I was probably the strongest modeler of the remaining group, and as I was directing, animating, and doing a percentage of the compositing and editing, that I simply did not have the time to do so, and he accepted this as a valid point.
Dan suggested that instead of creating a stereotypical animated film that we produce more of a moving image piece, as time was of the essence, but also due to the fact that he knew that we all enjoyed animating, but our true passion was in the areas of composting and editing.
We all agreed that this was a good idea, and decided to split the piece into three parts, giving us a chance to work individually, whilst coming together regulary for me to direct the film, and also for us all to share ideas about how the film progressed. He suggested we go speak to Mike to make sure that this was ok and that we would still meet all the course requirements.
After viewing our work, whilst Dan felt we had completed the new work to a high standard, he reenforced what we had all been feeling that we had lost the essence of the original story. He felt that the character was too scary for the film, and that the loss of the female diviated too much from the poem fromm which the piece was originally inspired by. Something we had all felt. We had been trying to make the best of the situation, but if Im honest, watching the original animatics, I felt quite emotional, as it reminded me of how much of the original concept we had had to scrifice.
Dan first asked if one of us could have decided to remodel the characters, but i pointed out that I was probably the strongest modeler of the remaining group, and as I was directing, animating, and doing a percentage of the compositing and editing, that I simply did not have the time to do so, and he accepted this as a valid point.
Dan suggested that instead of creating a stereotypical animated film that we produce more of a moving image piece, as time was of the essence, but also due to the fact that he knew that we all enjoyed animating, but our true passion was in the areas of composting and editing.
We all agreed that this was a good idea, and decided to split the piece into three parts, giving us a chance to work individually, whilst coming together regulary for me to direct the film, and also for us all to share ideas about how the film progressed. He suggested we go speak to Mike to make sure that this was ok and that we would still meet all the course requirements.
Mikes Response
Hi Sal,
Many thanks for your detailed update. It helps both Dan and myself to keep abreast of the productions development.
I am also glad that you are dealing with both Ali and Aijdin. We will support you if any group member starts to seriously undermine the production.
This Monday both of us will be reviewing groups throughout the day and perhaps we can have a quiet chat and you can update us further.
I am confident that we can help you to direct your film towards a successful conclusion as long as you keep both of us updated.
See you next week,
Regards,
Mike
Many thanks for your detailed update. It helps both Dan and myself to keep abreast of the productions development.
I am also glad that you are dealing with both Ali and Aijdin. We will support you if any group member starts to seriously undermine the production.
This Monday both of us will be reviewing groups throughout the day and perhaps we can have a quiet chat and you can update us further.
I am confident that we can help you to direct your film towards a successful conclusion as long as you keep both of us updated.
See you next week,
Regards,
Mike
Email to Mike
Dear Mike
I hope you are well and have been enjoying the Easter break.
I am just writing to keep you informed of the progress of my film. This is purely for your information and so I have it down in writing, not for any action to be taken.
Originally for my film, A Toccata of Galuppis, Ali Reza was signed up to do the modelling of the two characters and was given a deadline to complete by the end of term one. However, it was not until two weeks into term two that I received only one model, and it was not to a very satisfactory level. So, after discussing this with Ali, we decided that, as he was working on too many films and spreading himself too thin, he would step down from the modelling part of the project.
Aijdin subsequently told me that he would like to do it, for which we were grateful, and he said he would only need two weeks to complete the models of the two characters. I sent him a breakdown of what they should look like and my two character drawings. We agreed that from these he would create his own reference sketches to model from.
We then tried on numerous occasions, but to no avail, to contact him (his phone was always off), but as it was dissertation time I cut him some slack, even though I would still have liked to be kept informed of progress. Eventually three weeks ago we received the male model, not exactly how I had wanted but finished to a very high standard, so we were happy. However, as you may recall, the main focus of the film was the female, which I had asked Aijdin to complete first. When we asked when the female would be done, we were informed a couple of days.(By the way all these conversations have been recorded on MSN messenger, the only way we could get hold of him!). However again we could not get hold of him till a couple of days ago.
When we asked him about it he originally denied saying he’d agreed to do it. Then when we reminded him of his previous conversation, he remembered and said he forgot. He also stated that as he was working on so many films, and mainly on his personal show reel, that he would not be able to complete the female model for us. No apology and no advance warning – if I had known, I would have pursued other avenues for the modelling. As it stands it is now too late to start a new model from scratch, so I have re-written the film, much to my dismay, with just the male character.
The film should work fine with just the male, and I am not writing for you to do or say anything to Aijdin. When I finally manage to speak to him in person, I will explain to him myself all the points and why I feel let down. The main reason I am writing now, is just to keep you aware of the situation and also for it to be an example to next year’s animators; that they should only agree to one film, instead of many, which has caused so many delays on production.
All the other work is going well and the film will be completed to a standard I am pleased with. I would simply like others not to have to go through the frustration that I have had to deal with.
Should you have any queries or need further details, please do not hesitate to contact me.
Kind Regards
Sal Wilson
I hope you are well and have been enjoying the Easter break.
I am just writing to keep you informed of the progress of my film. This is purely for your information and so I have it down in writing, not for any action to be taken.
Originally for my film, A Toccata of Galuppis, Ali Reza was signed up to do the modelling of the two characters and was given a deadline to complete by the end of term one. However, it was not until two weeks into term two that I received only one model, and it was not to a very satisfactory level. So, after discussing this with Ali, we decided that, as he was working on too many films and spreading himself too thin, he would step down from the modelling part of the project.
Aijdin subsequently told me that he would like to do it, for which we were grateful, and he said he would only need two weeks to complete the models of the two characters. I sent him a breakdown of what they should look like and my two character drawings. We agreed that from these he would create his own reference sketches to model from.
We then tried on numerous occasions, but to no avail, to contact him (his phone was always off), but as it was dissertation time I cut him some slack, even though I would still have liked to be kept informed of progress. Eventually three weeks ago we received the male model, not exactly how I had wanted but finished to a very high standard, so we were happy. However, as you may recall, the main focus of the film was the female, which I had asked Aijdin to complete first. When we asked when the female would be done, we were informed a couple of days.(By the way all these conversations have been recorded on MSN messenger, the only way we could get hold of him!). However again we could not get hold of him till a couple of days ago.
When we asked him about it he originally denied saying he’d agreed to do it. Then when we reminded him of his previous conversation, he remembered and said he forgot. He also stated that as he was working on so many films, and mainly on his personal show reel, that he would not be able to complete the female model for us. No apology and no advance warning – if I had known, I would have pursued other avenues for the modelling. As it stands it is now too late to start a new model from scratch, so I have re-written the film, much to my dismay, with just the male character.
The film should work fine with just the male, and I am not writing for you to do or say anything to Aijdin. When I finally manage to speak to him in person, I will explain to him myself all the points and why I feel let down. The main reason I am writing now, is just to keep you aware of the situation and also for it to be an example to next year’s animators; that they should only agree to one film, instead of many, which has caused so many delays on production.
All the other work is going well and the film will be completed to a standard I am pleased with. I would simply like others not to have to go through the frustration that I have had to deal with.
Should you have any queries or need further details, please do not hesitate to contact me.
Kind Regards
Sal Wilson
Basic Layout New Storyline
We will take the male model and reproduce him so their are three male models with variations and different texture. (If time permits, otherwise, it will just be one)
We will begin with a tranquile and magical opening shot of the enchanted woodland.
Then the galuppis heads popping up in silloette at night early morning.
As if sencing danger, they begin to run. Its as if something is starting to swallow up their tranquile world. (Thiink the Nothing in The Never Ending Story)
We will cut to a shot of of them runnig/scrabberling down a hill, where at the end the ledge coes up again slightly, the first two run and jump, the third does not make it, is caught up by the Nothing.
The next shot is of them landing, camera infront 20% to Galuppi right.
Cut to behind and side and watch them look behind then run off
Cut to wide shot of them on open plain as dark cloud chases them, enguling eveything in it path, camera is above and behind right
cut to first galuppi reaching the end of the plain, begin to clim up rock wall. Second reaches begins to climb. First slips, second tries to grab him but cant, first falls into the cloud which has now reached the bottom of the cliff face. Only surviving Galuppi has no choice but to keep going and quickly.
Camera follows him up as he is chased by the Nothing Cloud, he makes it to the top where only him, one beautiful tree, and a little bit of the top of the cliff. The nothing has now engulfed everything, except where the Galuppi is, and has stopped, the galuppi prowls around lke a frightened cat.
Cut to close up of Galuppis head, sad look, breathing heavily. Camera pulls out, slowly at first, then building up speed. Reavealing that the Nothing cloud, was actually mans effect on natural habitates. pollution, and urbanisation is everywhere, camera pulls out till galuppi cant be seen, only overcrowded world, then this blends into Save the Plannet, or Greenpeace logo, with message about enviroment.
END
We will begin with a tranquile and magical opening shot of the enchanted woodland.
Then the galuppis heads popping up in silloette at night early morning.
As if sencing danger, they begin to run. Its as if something is starting to swallow up their tranquile world. (Thiink the Nothing in The Never Ending Story)
We will cut to a shot of of them runnig/scrabberling down a hill, where at the end the ledge coes up again slightly, the first two run and jump, the third does not make it, is caught up by the Nothing.
The next shot is of them landing, camera infront 20% to Galuppi right.
Cut to behind and side and watch them look behind then run off
Cut to wide shot of them on open plain as dark cloud chases them, enguling eveything in it path, camera is above and behind right
cut to first galuppi reaching the end of the plain, begin to clim up rock wall. Second reaches begins to climb. First slips, second tries to grab him but cant, first falls into the cloud which has now reached the bottom of the cliff face. Only surviving Galuppi has no choice but to keep going and quickly.
Camera follows him up as he is chased by the Nothing Cloud, he makes it to the top where only him, one beautiful tree, and a little bit of the top of the cliff. The nothing has now engulfed everything, except where the Galuppi is, and has stopped, the galuppi prowls around lke a frightened cat.
Cut to close up of Galuppis head, sad look, breathing heavily. Camera pulls out, slowly at first, then building up speed. Reavealing that the Nothing cloud, was actually mans effect on natural habitates. pollution, and urbanisation is everywhere, camera pulls out till galuppi cant be seen, only overcrowded world, then this blends into Save the Plannet, or Greenpeace logo, with message about enviroment.
END
poem edited
As we are having to change the story due to no female model, and also due to Keirans suggestion of editing down the poem, we have decided to take five key lines from the poem, and either have them flash up as text, or be wispered during the animation. This frees up the story line and allows us to enjoy a more exciting stlye of editing after the compostiong has occured.
Only One Model
Whilst I had been hoping the modeling and texturing for both models would have been done by now, unfortunately it has not happened. Aijdin had originally promised that they would be done weithin a few weeks, but we only recieved the male three weeks ago, and were told we would recieve the female a couple of days later. having only now managed to get in contact with him, we have found out thaty he is no longer going to have time to complete the female. As we didnt know this till recently, and with time pressing we are going to have to change the story and only use the male model.
Adam was sent the male model for rigging as soon as we recieved it, and has informed me we should recieve it later today. Fingers crossed. As soon as that happens I can begin animating.
Adam was sent the male model for rigging as soon as we recieved it, and has informed me we should recieve it later today. Fingers crossed. As soon as that happens I can begin animating.
The Blogger Returns...
Having been a way for the holidays, i had let my blogging slip but we have been working away on the film. Elisha has been working on secondary modeling and animating. Chris and bart are well on their way with the enviroments, and they should be completed shortly.
Ali decided he had been spreading himself too thin, so has decided to concentrate on less films. Many thanks to him for his concept work and input. Aijdin has thankfully taken over the modeling, and it will be completed this week.
Ali decided he had been spreading himself too thin, so has decided to concentrate on less films. Many thanks to him for his concept work and input. Aijdin has thankfully taken over the modeling, and it will be completed this week.
Dynamics Development
The animation requires some dynamics in a few of the scenes so this is something I have been investigating. For the clouds and mist I will probably use Maya, and also possibly for the rain. For the river and two waterfalls i have looked at Blender and the Glu3D plugin for Maya, but I am probaby going to go for RealFlow as I like the interface more. When I have some screen grabs I will upload them.
I will probably get Bart to also do some of the clouds in After Effects.
I will probably get Bart to also do some of the clouds in After Effects.
First Draft of Contract
CONTRACT FOR SERVICES
1. A G R E E M E N T dated and between Sal Wilson and
2. Sal Wilson contracts directly with (From here on called, Animator). For the rights for adaptation, production, co-production, and exploitation of the ‘A Toccata of Galuppis’ Production, on which Animator shall perform services as:
3. Animator will participate in the development and production of whatever additional material is required, and also ensure that they adhere to the deadlines laid out by the director, Sal Wilson, in the ‘A Toccata of Galuppis’ Production, production schedule.
4. The copyright for everything created for the ‘A Toccata of Galuppis’ Production shall remain the property of Mrs Allia. M. Wilson, and also any royalties and revenue from this project, and any further developed of the same concept. including, but not limited to: storyboards, backgrounds, cels, cut-outs, art work, models, animation and/or other pre-print materials whether in the possession of Mrs Allia M Wilson, or not.
5. The above mentioned Animator, is however entitled to use any part of the ‘A Toccata of Galuppis’ Production that they have worked on for their own show reel and personal promotion.
6. Animator shall be given the first right to personally perform any required re-working of the work, including any corrections, additions, deletions, changes, reediting, or sound remixing required by Sal Wilson.
7. If the above mentioned Animator's best efforts to re-work the film do not meet with the approval of Sal Wilson, the director shall, at his sole discretion, have the final right to make said corrections and the Animator shall furnish necessary components in Animator's possession to ‘A Toccata of Gallupis’ Productions.
8. Animator may be asked to participate in promotional efforts such as workshops, speeches, writing for publication, etc.
9. This agreement constitutes the whole agreement between the parties and may not be modified except by the written consent of both parties. Nothing in this agreement shall be construed to create the relationship of employer and employee between the parties.
10. This agreement will be governed by and construed in accordance with the laws of the United Kingdom, and shall be valid in all countries of the world.
ACCEPTED AND AGREED: A Toccata of Galuppis Production
By_______________________
By_______________________ Witnessed By__________________
1. A G R E E M E N T dated and between Sal Wilson and
2. Sal Wilson contracts directly with (From here on called, Animator). For the rights for adaptation, production, co-production, and exploitation of the ‘A Toccata of Galuppis’ Production, on which Animator shall perform services as:
3. Animator will participate in the development and production of whatever additional material is required, and also ensure that they adhere to the deadlines laid out by the director, Sal Wilson, in the ‘A Toccata of Galuppis’ Production, production schedule.
4. The copyright for everything created for the ‘A Toccata of Galuppis’ Production shall remain the property of Mrs Allia. M. Wilson, and also any royalties and revenue from this project, and any further developed of the same concept. including, but not limited to: storyboards, backgrounds, cels, cut-outs, art work, models, animation and/or other pre-print materials whether in the possession of Mrs Allia M Wilson, or not.
5. The above mentioned Animator, is however entitled to use any part of the ‘A Toccata of Galuppis’ Production that they have worked on for their own show reel and personal promotion.
6. Animator shall be given the first right to personally perform any required re-working of the work, including any corrections, additions, deletions, changes, reediting, or sound remixing required by Sal Wilson.
7. If the above mentioned Animator's best efforts to re-work the film do not meet with the approval of Sal Wilson, the director shall, at his sole discretion, have the final right to make said corrections and the Animator shall furnish necessary components in Animator's possession to ‘A Toccata of Gallupis’ Productions.
8. Animator may be asked to participate in promotional efforts such as workshops, speeches, writing for publication, etc.
9. This agreement constitutes the whole agreement between the parties and may not be modified except by the written consent of both parties. Nothing in this agreement shall be construed to create the relationship of employer and employee between the parties.
10. This agreement will be governed by and construed in accordance with the laws of the United Kingdom, and shall be valid in all countries of the world.
ACCEPTED AND AGREED: A Toccata of Galuppis Production
By_______________________
By_______________________ Witnessed By__________________
Research and Inspiration
Their were a number of different styles and areas we looked at for the feel of this project, for example, the 'Tale of How' by the BlackHeartGang, and the animated Beijing 2008 Olympics Promo, examples of both, and others, can be found on Chris Meadmore's page, just follow the link from mine. We are going to use alot of 2D planes for the background, and try to give the whole thing a hand drawn quality to it, some of the environment will have to be in 3D as the Galuppis need to interact with them, and the Galuppis will be created in Maya, and textured and bump mapped in Mudbox.
New Story Layout and Shot List
(Titles Fade)
Cloud close up
Camera pulls out slow
Full cloud now in shot (moonlight)
Cloud moves right to left
Cut to wider shot of birthing tree, almost all of it in shot
Camera pulls out to reveal all of tree and some of hill top
Cloud move slowly across to over tree
Cloud grows slightly and goes darker
Cloud starts to rain on tree, slowly at first then heavier
The two buds/pods on the tree begin to grow and swell in size
They blossom and start to flower
They open, and the two Galuppis, one male one female, roll out and down the trunk
They stretch and limber and look at each other
They smile
The male leans towards the female
The female begins to do the same
The female then pushes the males face in the mud and runs of giggling to past the camera right.
The male looks up shocked
His look then changes to a smile.
He then chases after her, past camera left and over
Poem Begins)
Side view of the female running towards the cliff edge (dawn breaking)
She jumps/dives off the edge arms out stretched
Cut to wide shot of her diving into the mist in the valley below, a lot of the background is seen in this shot.
Camera is now closer and faces other side of the valley, female jumps out of mist onto other side of valley and continues running
Cut to full frontal of waterfall (daytime now)
Female runs through waterfall left to right
Cut to wide shot, female running left to right, Frangipani tree in far right of shot
She jumps close to the tree
Cut to closer shot of her grabbing a flower from tree and landing
Camera now in front of her, quite tight angle, she goes to eat flower, and stops
Cut to close side view of her from waist up, she lowers her hand and opens it
Bee flies out
Cut to shot of as if camera attached to bee’s behind, camera buzzes away and up, she smiles
Cut to shot in front and slightly down and left of her eat the flower
She then runs out of shot
Cut so behind view as she runs into forest
Cut to side view of her running through the forest, sunbeams piercing sections of the forest, tall grass along the ground that she brushes by
Cut to shot down and to the left looking up at female as she stops for breath, and listens.
Poem reads, ‘like a pigeons evening…’)
She hears the male coo in the distance
She smiles and continues running out of shot
Cut to low shot next to males left foot, across the way the female runs into shot facing the male
Cut to side view of them coming close together
They are disturbed
They run out of shot, right to left holding hands
Cut to overhead and behind shot of them running into clearing, they look around, and realise they are alone
Side shot of them pushing off each other
Cut to shot above and behind female right, they circle each other
Cut to shot behind male left shoulder, they charge towards each other
Cut to shot birds eye view of the two Galuppis charging towards each other
As they clash camera has panned down to side and tighter, waist up, sparks fly, their branch horns, begin to bud and flower
They twist and go down anti clockwise, as the camera twists and goes up clockwise.
Cut to shot of two tall trees, branches touching
Birds fly off from tree disturbed
Two Galuppis leap up and land in the tree facing camera
They embrace and smile
Their looks turn sad, camera has zoomed in slightly
Cut to Galuppi point of view, looking out over the valley bellow, camera pulls back to behind the Galuppis, as it does deforestation and pollution revealed
Montage of pollution shots plays in front of them
Cuts to shot of them softly dropping to floor
Cut to shot of them slowly disappearing into the forest (sun is setting)
Screen fades black and music and poem pauses
Music and poem begin again, Cut to wide shot of river bank and forest, female runs through barely seen, left to right, slight camera zoom to follow her
Cut to medium wide shot of male running right to left, over 2nd waterfall and into forest towards direction female was heading, slight camera zoom to follow him
Cut to wide shot of them meeting on hill top, camera zooms in slowly, as the moon rises; they entwine and become new birthing tree.
Screen fades black
Credits
END
Story Development
The original story outline followed the poem pretty closely, concentrating on the courtship of the characters, with a segment towards the end concerning environmental issues such as deforestation and animals habitats being destroyed. This coupled with a narration of the poem over the top.
After meeting with the guest lecturer, David Bull, he suggested to have other story elements going on, to free up the animation, and perhaps even have the first half a comedy, to contrast with the environmental point later.
I have to admit I wasn't too keen to make the first half an all out comedic segment, as I felt that this would detract from the poem, but I took on board the idea of having the animation have other elements too it away from the poem, and instead of having an out and out laugh fest at the beginning, i decided instead to implement moments in the film that make you smile and smirk, more subtle humour.
After meeting with the guest lecturer, David Bull, he suggested to have other story elements going on, to free up the animation, and perhaps even have the first half a comedy, to contrast with the environmental point later.
I have to admit I wasn't too keen to make the first half an all out comedic segment, as I felt that this would detract from the poem, but I took on board the idea of having the animation have other elements too it away from the poem, and instead of having an out and out laugh fest at the beginning, i decided instead to implement moments in the film that make you smile and smirk, more subtle humour.
Team Assembled
I now have my team assembled and the job roles are as follows:
Sal - Character Concept, Director, Production Schedule, Animation, Special FX + Dynamics, Marketing, Storyboard.
Ali - Character Concept, Character Modeling, Website.
Adam - Rigging and Blend Shapes.
Aijdin - Mudbox.
Elisha - Enviroments Concept, Enviroment Creation.
Chris - Enviroments Concept, Enviroment Creation, Texturing, Lighting, Poster, DVD Exterior.
Bart - Compostiting, AfterEffercts, Editing, Titles, DVD Menu, DVD Animation, DVD Game.
A Sound Designer still needs to be sourced.
Sal - Character Concept, Director, Production Schedule, Animation, Special FX + Dynamics, Marketing, Storyboard.
Ali - Character Concept, Character Modeling, Website.
Adam - Rigging and Blend Shapes.
Aijdin - Mudbox.
Elisha - Enviroments Concept, Enviroment Creation.
Chris - Enviroments Concept, Enviroment Creation, Texturing, Lighting, Poster, DVD Exterior.
Bart - Compostiting, AfterEffercts, Editing, Titles, DVD Menu, DVD Animation, DVD Game.
A Sound Designer still needs to be sourced.
Initial Animatic wont load!
Have tried to upload my animatic that I used for my pitch but neither quicktime nor avi versions seem to work. I might have to use a lower quality render.
Female GaluppiPitch Chosen
I have been lucky enough to have my pitch initially chosen as one of the final films to be made and I am very happy about it. Im looking forward to directing as this is something I have been considering as a career.
Points for Individual Presentation
Below are the points I made for the pitching process:
My animations title is A toccata of Gallupis, and is based on a poem written by my father, and it is a story of these rare secretive forest dwelling creatures called gallupis. Galupi was actually a composer from sssss and although he never wrote a toccata, a fast paced snappy composition, in ssssssss wrote a poem about this imaginary piece of music. My father had seen this title and rearranged it to a toccata of galupies, like a herd or pride of galupies and wrote the poem that your going to hear shortly in my animatic.
Although the poem talks about their lives and their courting rituals, it does very little to describe what the gallupies were actually supposed to look like. All I had was that they had onyx stone eyes, horns and star like feet. So when it came to the character design it allowed me to have quite a large degree of freedom. I wanted to have them walking on two feet, and to have a spritelike feel to them, whilst at the same time having them definitely appear to be creatures rather then humanoids. As they where to have horns, I decided to look at the Thompson gazelle as inspiration for the facial features, the hair and tail to be similar to that of a lion, to give their look an almost regal and noble air. I wanted them to be elegant without being too feminine in their appearance.
For the sound of the piece I have recorded myself doing the narrative, and used a piece of music by Enya called Fairytale. Along with some water sound effects.
The duration for the piece is approximately 2.45sec.
Whilst this piece can stand alone as a single episode it can lend itself to be made into a seires.
Rather then just have the animation a representation of the poem, and due to the line in the poem, gallupis live on frangipani flowers, on love and on fresh air, and that’s why in this world of ours gallupis are so rare. I decided to use that as an opportunity to get an environmental point across, and look at the issue of deforestation and animals habitates being destroyed. So due to this rather then just enter it into normal film and animations competitions and festivals, I have been looking at envorimental ones, such as sssssssssssssssss and Im also in the process of contacting greenpeace to see if they could use the final piece for their own promotion. And from a personal level, my father sadly passed away before he had a chance to publish any of his poetry, so it gives me a chance to promote both his work and my own.
For the style of animation I would like the two characters, the male and female gallupis, to be created in Maya and Zbrush, with careful attention paid to the texturing and bump mapping, and for the background I want them to be matte painted by hand with either acrylic or watercolour depending on the colour saturation needed for the different scenes. With also the possibility of using photography mixed their aswell to give the bg a realistic element. A style that I quite like is the tale of how. A kind of dream like essence to it.
I’m would want to direct this piece and do the lighting and/or the the special effects and dynamics of the piece, and whilst I could do the modelling myself, I would rather find someone who was more proficient on Zbrush then me. I would be also looking for a animator, texturer, rigger, sound designer and editor. And also a matte painter who would also need to be able to create the poster and other promotional material.
For the production schedule I would like all concept art for the environments completed within two weeks of the team being assembled, a futher six weeks for creation and texturing of the two characters, and the painting of the backgrounds, and then that will leave us two weeks of term one for rigging and finishing touches.
Term two will consist of lighting and animation creation and rendering, and term three special effects/dynamics, compositing and rendering. The sound design can be started in term one.
My animations title is A toccata of Gallupis, and is based on a poem written by my father, and it is a story of these rare secretive forest dwelling creatures called gallupis. Galupi was actually a composer from sssss and although he never wrote a toccata, a fast paced snappy composition, in ssssssss wrote a poem about this imaginary piece of music. My father had seen this title and rearranged it to a toccata of galupies, like a herd or pride of galupies and wrote the poem that your going to hear shortly in my animatic.
Although the poem talks about their lives and their courting rituals, it does very little to describe what the gallupies were actually supposed to look like. All I had was that they had onyx stone eyes, horns and star like feet. So when it came to the character design it allowed me to have quite a large degree of freedom. I wanted to have them walking on two feet, and to have a spritelike feel to them, whilst at the same time having them definitely appear to be creatures rather then humanoids. As they where to have horns, I decided to look at the Thompson gazelle as inspiration for the facial features, the hair and tail to be similar to that of a lion, to give their look an almost regal and noble air. I wanted them to be elegant without being too feminine in their appearance.
For the sound of the piece I have recorded myself doing the narrative, and used a piece of music by Enya called Fairytale. Along with some water sound effects.
The duration for the piece is approximately 2.45sec.
Whilst this piece can stand alone as a single episode it can lend itself to be made into a seires.
Rather then just have the animation a representation of the poem, and due to the line in the poem, gallupis live on frangipani flowers, on love and on fresh air, and that’s why in this world of ours gallupis are so rare. I decided to use that as an opportunity to get an environmental point across, and look at the issue of deforestation and animals habitates being destroyed. So due to this rather then just enter it into normal film and animations competitions and festivals, I have been looking at envorimental ones, such as sssssssssssssssss and Im also in the process of contacting greenpeace to see if they could use the final piece for their own promotion. And from a personal level, my father sadly passed away before he had a chance to publish any of his poetry, so it gives me a chance to promote both his work and my own.
For the style of animation I would like the two characters, the male and female gallupis, to be created in Maya and Zbrush, with careful attention paid to the texturing and bump mapping, and for the background I want them to be matte painted by hand with either acrylic or watercolour depending on the colour saturation needed for the different scenes. With also the possibility of using photography mixed their aswell to give the bg a realistic element. A style that I quite like is the tale of how. A kind of dream like essence to it.
I’m would want to direct this piece and do the lighting and/or the the special effects and dynamics of the piece, and whilst I could do the modelling myself, I would rather find someone who was more proficient on Zbrush then me. I would be also looking for a animator, texturer, rigger, sound designer and editor. And also a matte painter who would also need to be able to create the poster and other promotional material.
For the production schedule I would like all concept art for the environments completed within two weeks of the team being assembled, a futher six weeks for creation and texturing of the two characters, and the painting of the backgrounds, and then that will leave us two weeks of term one for rigging and finishing touches.
Term two will consist of lighting and animation creation and rendering, and term three special effects/dynamics, compositing and rendering. The sound design can be started in term one.
Idea For 3rd Year Animated Film
My idea for my animated short film, was inspired by a poem written by my father, about these mythical and secretive forrest dwelling creatures called Galuppis. The poem is below:
A TOCCATA OF GALUPPIS
Galuppis, galuppis, galuppis in toccatas,
Cavorting through the moonlight with a sound like rushing waters.
I know that you’re inclined to say
Galuppis don’t exist,
But I saw one only yesterday
Toccating through the mist,
And I glimpsed her tiny star-like feet
As she went to have a shower,
And I heard her burbling sweet
And low, as she ate her morning flower.
Galuppis, galuppis, galuppis in toccatas,
Disporting in the sunlight with a sound like rushing waters.
Galuppis are harmonious
In everything they do.
They’re graceful, lithe, and unlike us
They hum the whole day through,
With a deep, contented, burbling sound,
Like a pigeon’s evening coo.
Forward leap galuppis, galuppis in toccatas,
Onyx-eyed, from side to side
Rushing like floodtide waters.
Courting in galuppis
Has customs of its own,
Regarding which they’re most precise :
Intrude, and they’ll be gone.
Sinuous are their delights,
To frisk and roll in peace.
Inventing strange new loving fights
Nearer each the other incites,
Enjoyment to increase.
When making love, their clashing horns
In sparks bejewel the night.
They twine together until morn
Has bathed their limbs in light.
Love with them is musical :
Orchestral is the noise !
Vaulting the highest trees they call,
Ecstatic in their joys !
Galuppis, galuppis, galuppis in toccatas,
Entwining in the sleep of love,
Like peace upon dark waters.
They live on frangipani flowers,
On love, and on fresh air,
And that’s why in this world of ours
Galuppis are so rare.
Galuppis, galuppis, galuppis in toccatas :
You’ll hear them now your whole life through,
In sleep, by day, in loving too,
Like hidden waters, burbling streams,
Toccat – toccating through your dreams.
Roderick Wilson
A TOCCATA OF GALUPPIS
Galuppis, galuppis, galuppis in toccatas,
Cavorting through the moonlight with a sound like rushing waters.
I know that you’re inclined to say
Galuppis don’t exist,
But I saw one only yesterday
Toccating through the mist,
And I glimpsed her tiny star-like feet
As she went to have a shower,
And I heard her burbling sweet
And low, as she ate her morning flower.
Galuppis, galuppis, galuppis in toccatas,
Disporting in the sunlight with a sound like rushing waters.
Galuppis are harmonious
In everything they do.
They’re graceful, lithe, and unlike us
They hum the whole day through,
With a deep, contented, burbling sound,
Like a pigeon’s evening coo.
Forward leap galuppis, galuppis in toccatas,
Onyx-eyed, from side to side
Rushing like floodtide waters.
Courting in galuppis
Has customs of its own,
Regarding which they’re most precise :
Intrude, and they’ll be gone.
Sinuous are their delights,
To frisk and roll in peace.
Inventing strange new loving fights
Nearer each the other incites,
Enjoyment to increase.
When making love, their clashing horns
In sparks bejewel the night.
They twine together until morn
Has bathed their limbs in light.
Love with them is musical :
Orchestral is the noise !
Vaulting the highest trees they call,
Ecstatic in their joys !
Galuppis, galuppis, galuppis in toccatas,
Entwining in the sleep of love,
Like peace upon dark waters.
They live on frangipani flowers,
On love, and on fresh air,
And that’s why in this world of ours
Galuppis are so rare.
Galuppis, galuppis, galuppis in toccatas :
You’ll hear them now your whole life through,
In sleep, by day, in loving too,
Like hidden waters, burbling streams,
Toccat – toccating through your dreams.
Roderick Wilson
Subscribe to:
Posts (Atom)