clean keys for the bump, plus rough tweens. All scratch time, and we still need to drop in the shadow work.
Author Archiverough animatic layout for the VV bump. In-house sequence for use on the reel, and wherever else it seems appropriate.
Closing mockup showing how we transition to black.
- What could I possibly say? Nortega silliness. It makes for some fun loops if you fiddle with the frames.
Complete keys and rough tweens for the entire spot. The logo treatment at the end is a mockup, and we’re still lacking the rain of splinters around the middle, but principle animation is essentially complete, barring corrections.
Second round of keys. This cut also includes cleanup tweens for frames 001-035, and runs out to the bat inside the store (078). This does not include the layer of splinters that rain down during the hold at 51 (staring at the bat). We’re just over the halfway point, and we’ve got about five flex points to adjust timing if necessary.
Keys and rough tweens for frames 001-038. About the first quarter of the total, estimated. Normally we’d break keystests up by cut, but since this piece essentially has no cuts, we’ll be posting as we go. Because of the rough nature of the “clean” keys, the rough tweens fit in more seamlessly than usual. Nevertheless there’s a lot of elements not included here, such as a thicker defining line, color, shadows, etc. This keystest only serves to test motion and timing.
Additional adjustments made to both the storefront and the body/uniform of the character.
Possible adjustment to the final frame of the first spot.
Second animatic for Modell, built to blend with the first spot, so we can have either two short pieces that stand alone or one longer piece suitable for multiple formats.
Rough animatic concept for the Modell spot. Bit more frames than usual, but we got rolling on the action and couldn’t be stopped.
- - - - - - - - - Sample frames with a single spot color and heavy shadows. Heavy shadows can help action read at a distance even when line clarity drops, and the spot color allows us to direct the eyes effectively.
- - - - - - - - - - - - - - - This serves as a rough example of where the spot colors would apply to the character design as a whole. The bat which cracks is white, but the bat he picks up in the Modell’s store is Modell red.
More BG element linetests.
Added firing frames. Casings still to come.
<——————————————————————————————————-> Casings added. Bodies next.
Linestests for near BG characters falling to machinegun fire. With judicious timing these three can be doubled up for the half of the rotation that passes by before the transition. Additional BG elements next.
<——————————————————————————————————-> Secondary BG characters with limited animation. One final plate and perhaps a nice explosion will round out the BG elements.
big splat at the end of Punching Bag. There’s a mockup of 008, 009 and 010 after the jump so that you can see how the cuts splice together.
most all the frames for c001, there’s a touch of tweens on the BagMonster towards the end but that’s about it. The transition FX aren’t in place, but the timing is set. The full video at the beginning might have this playing a bit slow on some computers, at least at the beginning, but you can always click the GIF to view it in a window of its own, which can help if the framerate dips.
Punching Bag cut 006, with the full frames for Nike but the key frames for the BagMonster.
full lines for c003
linestest for c009, Nike’s POV punch into the BagMonster’s face.
Key frames and breakdowns for c005. It’d be nice to hold a little more at the end, but we’re right up against the 24f cut time.
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