Week 3: Storyboarding and Sounding

Over the weekend Bimpe and Natasha worked on editing the storyboard and pulling together the animatic.

Again we looked at The Good, The Bad and The Ugly for helping to rework the scenes and the camera angles, and felt that the final scenes in particular (with the ogre and the giant goat) could work as spaghetti western gold!


The Art of Editing in The Good, the Bad, and the Ugly from Max Tohline on Vimeo.

Yannis recorded some rough (and awesome) narration for us to help with timing the scenes in the animatic.

Here's the first draft of our animatic:



We've also been doing some colour checks - comping together the environment with the characters to sense test the colours

Week 2: Under the (Troll's) Bridge.

We've done quite a bit since the last meeting. We took the weekend to start work on initial designs and another storyboard for the story.

We've come up with initial designs for the Troll, Goats and Mariachis, and we've started to think in detail about the landscape we're hoping to produce. The design show and tell was also a way for us to address any potential issues that may arise during the production stage.

• Potential for animation for the eye - needs further discussion.
• Possibly 2D animation or 3D texture change
• All goats will need a joint bone in the lower leg when rigging – for bending purposes

Ritchie's example of potential ways to address Billy Goats Eye-Gate!

Cristina's Pinata Goat design

Natasha has worked on design for the Troll. As a group we've picked the features and we like the most, and Natasha will pull together a more final design.

We want to start testing as soon as we have the designs nailed, so we can work out the best way to produce the expressions - whether this is in 3D or 2D.

We currently have an initial colour palette, but we definitely need to work on a more in-depth colour scheme to help guide our process, and we've decided that the piñata goats will be the key priority. Once we've decided on their scheme, the troll and the environment will work to compliment (or contrast) them.

We also decided that although the goats' tones should be varied - they should all share at least 1 colour to make them look like a set.

The storyboard is almost there. After talking to Phil and Barry, we've decided to re-work it slightly so its also providing more stage direction. Once this is completed we'll work on the colour script.

Our storyboard draft