Roy Edward Disney

May Roy Edward Disney Forever be Loved & Remembered

(1930 ~ 2009)

"If you don't tell a good story... forget about it, you know ~ it's like real estate.
There's 3 important things about it, about film that's story, story and story...
and if you don't tell the stories...
well they've got someplace else to go pretty quick."

~ Roy E. Disney

Archive of American Television
AWN Article

11 Second Club November 2009

PAAAAAAAAAAAAAAAAAAAAC MAAAAAAAAAAAAAAAAAAAAAN!!!!!

Woot 6th, again. Thanks for the votes and comments !



Initially was thinking of animating an alien in a cocoon, so I did some character exploration sketches, the bandaged dog with the cone of shame was inspired by my own dog which had an ear infection and had to wear that cone, the other reason was to limit the animation to just facial.



I ended up going for Pac Man because I had one week to play around and I wanted something simple to animate as well as practice more on facial animation especially the mouth area, so what better character than a round sphere with his jaw half his whole body mass.

Also wanted to experiment gesturing with a simple sphere, it's limited but you'd be amaze with just some squash, stretch, tilting and timing of the sphere, one can portray some simple body expression of deflated, disbelief sadness and directness, add it with a pair of eyes and a mouth and viola, you have facial gesturing.



Also experimented on full motion distortion and distorted eye darts, I thought it would go horribly wrong but it came out quite alright I guess, except for some places....... but that's for you guys to find out :)

Crits & Comments are most welcomed.

Enjoy!


Final Animation for now....
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Break Down!
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By the way the collaborated Pac Man skeleton sculpture is created by;

Le Gentil Garçon
François Escuilié (paleontologist)


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Some of the more constructive comments & critics by 11second club members;

Kashif:

"Haha Packman addicted to the cream. Wow. Great concept and wonderful lipsync. I love the weight shifts on Packman. In fact, after noticing this I wished you made the Ghosts shift their weight when they looked at each other. Either way, tops in my book."

Ryan Hayford:

"The expression in this is excellent, and the reveal is great. I thought this was gonna be a talking head facial animation excersice and then the ghosts jumped in... maybe you could have given more backround, like more dots or part of the maze so we know right away it's pac-man."

Justin West:

"Wow, that's some really impressive 2D! Very bouncy and expressive! The only thing that didn't look quite right to me was the sobbing at the beginning. I'm not sure what it is. Maybe there's movement in the mouth, I don't know. Sorry I can't be more specific. Great work, otherwise! I won't be surprised if this wins. The ghosts are a great touch, btw!"

Robert Holmen:

"No cliched arm gestures in this one! extra star for that.

This is a great study in just "face"

Some of the gestures seem not to be timed quite right, like the last one for "whipped cream"

Jett Atwood:

"Finally! Something original! Great idea, well drawn. My only suggestion would be to layer the ghosts blinks a little bit. It's jarring to have them blink at the *exact same time.*

Great stuff and shows that good character animation can be done with something as simple as a sphere."

Emmanuel Vergne:

"The lipsync seems off."

*Note; I'm not 100% sure if the name links are linked to the right people, if it isn't please let me know immediately, thanks!

Thanks again for all the C&C you guys gave, I've read them all and just posted these selected few for readers and me who want to learn more on what works and what not.

Till the next round, December's clip sounds WILD!

Pogo

I don't think I've posted this on here before but it was something I came across a few months back, music created by Pogo.

So, for all you Animators who loves chillout lounge music;


Alice

Expialidocious

White Magic

Pogo Youtube
Pogo Blog
Pogo Last.fm

P A N T U R A L

Some wicked stuff by PANTURAL.

Ford SHELBY vs CAMARO vs JEEP vs VAZ 2107 vs HELICOPTER

Get the 720 x 405 version here.

A Town Called Panic

A film by Stéphane Aubier & Vincent Patar

"A Town Called Panic is one of the rare full-length animated films ever to secure the honor of a coveted slot in the Official Selection (in this case, Out of Competition) at Cannes."




A Town Called Panic

Wonder if it'll ever be screened here.....

6 Degrees of Separation

Here's a question;

Bambi
(1942)


The Banyan Deer
(1957)


Hikayat Sang Kancil
(1978)


?

They just might have more in common than you think....

A Train of Thoughts...

Was watching Hustle the other day, great BBC tv series about con men. Anyway the thing that caught my attention in the Designer's Paradise episode was the antagonist fashion designer reasoning about Charles Saatchi and a tiger shark in a tank which sold for 8mil. The name Charles Saatchi rang a bell as I recalled an ad agency named Saatchi & Saatchi wasn't sure if they were related. So what did this guy and a tiger shark in a tank and $12 million had to do with fashion/art.

Charles Saatchi was co founder with brother Maurice of the leading global advertising agency Saatchi & Saatchi. He is also known as an art collector and established the Saatchi Gallery in 1985. Charles Saatchi developed a strong interest in US pop culture during his early years in secondary school and had a strong enthusiasm for collections of Superman comics to Jukeboxes.

In 1991 Charles Saatchi commissioned Damien Hirst for whatever artwork he wanted to create, thus the creation of "The Physical Impossibility of Death in the Mind of Someone Living" ~ a 14ft Tiger shark preserved in a tank filled with formaldehyde, total cost of work was £50,000. On December 2004 Charles Saatchi sold it to an American collector for $12 million (£6.5 million).

Damien Steven Hirst dominated the art scene in Britain during the 1990's, world renowned and reputed to be the richest living artist to date. His career in the 90's was closely linked with art collector Charles Saatchi whom commissioned him to create;

"The Physical Impossibility of Death in the Mind of Someone Living"

...which evidently became an iconic work of British art in the 90s and Brit Art world wide. Death is one of the themes in Damien Hirst's work, in which he was famous for a series of dead animals preserved in and sometimes dissected in formaldehyde.



Although he physically participated and the making of his earlier works it came to a point where the volume of work produced would require a factory setup where assistants will execute his ideas like a film director molds a film with the help of actors and a crew. Damien Hirst work philosophy wasn't much different than of Andy Warhol's that a legitimate art piece isn't the execution but the ideas and subject matter envisioned by the artist himself whom his assistants could execute it even better for him.

Andrew Warhola more so known as Andy Warhol was leading figure in the Pop Art movement in America of the late 50's. He had a successful career as a commercial illustrator and was later recognized as a painter, filmmaker, record producer, author and a public figure. His studio dubbed The Factory was a place where he worked and to setup an assembly line for the mass production of his silkscreen works as well as a place a where prominent people hung out and the setting for most of his film making with the workers who doubled as actors.

Though more known as the Pope of Pop in the pop art movement for his works of Marilyn Monroe silk screen prints and Campbell Soup Can paintings, he was quite an underground filmmaker due to the controversial, explicit, abnormal films he made and the reason why it remained underground as non of the theaters wanted/could show them as for those that did usually got raided. Of such films, his 1965 film ~ Vinyl was a BWhite experimental film early adaption of the novel "A Clockwork Orange" by Anthony Burgess.

John Burgess Wilson (pseudonym Anthony Burgess), an accomplished musician, author and linguist. Most known for his novel "A Clockwork Orange" which was adapted into film by Andy Warhol in 1965 and later in 1971 by Stanley Kubrik. The title of the novel came from an old Cockney expression, "as queer as a clockwork orange" and thought he could use it punningly to refer it to a mechanically responsive human due to his time in Malaya as a teacher and education officer for the British Colonial Service in 1954.

John Burgess Wilson was stationed at Kuala Kangsar, Perak and taught at the Malay Residential School, established in 1905 the first fully residential all boy all Malay prep school dubbed Eton of The East, founded by Mr R.J.Wilkinson and headed by then the headmaster of Penang Free School, Mr W.Hargreaves. Besides the languages German, Russian, French and Spanish, John Burgess Wilson was fluent in Malay speech and Jawi writing. In addition to his teaching duties he had responsibilities as a housemaster in charge of the students who were housed at a Victorian mansion known as the King's Pavilion.

He devoted some free time to creative writing during his stay in Malaya and published his first novels ~ Time for a Tiger, The Enemy in The Blanket and Beds in The East was known as the Malayan trilogy and later published under a single volume The Long Days Wanes. In 1956, John Burgess Wilson composed the symphony ~ "Sinfoni Melayu", which draws on many musical styles he encountered while he was in Malaya, he described is as an attempt to "combine the musical elements of the country into a synthetic language which called on native drums and xylophones".

...End of the Line

What if they were real?

An article I read from my cousin's twit on Michael Paulus and his anatomy studies on cartoon characters.

6th Place, Thank You!!!!!

Woot! I was not expecting to get anywhere near top 10 with this entry, but thank you all for your votes critics and comments for 6th place!


Thumbs and sketches

Last months entry took me about a month to complete, I haven't done a proper 2d for so long that it took me a while to get use to the x sheet and all. And true to what I found out is that the x sheet really helped out in the timing and the lip sync as well as reduce that overwhelming feeling of endlessly drawing frames, the more you draw the less empty frames left to draw which you could visually count on the x sheet :)

Most importantly what I learned is that the amount of exaggeration you could pull off in an animation, well in 2d I felt that I wasn't restrained to rigs which felt liberating and just draw out where and how you want the character to move. And the more exaggerated I made the animation the more lively and fleshy it became. When I started off for the first half of the process most of my posses were very very stiff to the point of limited animation and animating just the head, during the second half of the process I decided to just go all out and apply more SQST all round and really squash that face and then stretch it in a way that it's grotesque and imagining it to fail miserably...... that part of the animation came out to be the best stuff of the whole clip.



The thing that made it so fun to watch was not because you could see the really squashed and stretched face but the overall feeling of it being really elastic and fleshy in sequence because of the exaggerated posses or shapes of a character. After all, those frames passed by 1/25th of a second each. It felt really squishy and pliable giving it more realism in a way to the character that her face was a real fleshy face.

Could have worked better with the overlapping of hair and cloth as well as volume and on model control, if you go frame by frame you can see the chin grow bigger and then smaller when she stands back up. Could have explored more with facial expressions as well. The second bang SFX in the clip was added in after and not from the original audio clip. I just felt like animating her slam her fist on the book and didn't really cared if there wasn't any audio for it.

Final Animation
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Work Progression
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It was a fun month to animate, killed 2 blue pencils though.