BG layout, colors and shadow flats for 008-01. Scratch time and needs lighting effects (blowout from elevator interior, direct light from hanging lamps.
Shadow layers for 006-08. Temp FX to be replaced. Flat colors next.
-EDIT- Note that the flicker in the left chest and the trigger guard during the walk cycle have both been fixed since this test export.
Color flats and shadow layers for the Cleaner kicking in the door and double-double-tappin’. Needs background layer, and lighting effects. The frames here apply to 013-01 as well as 011-03.
Colors and shadows for the soldier in 006-10. No FX layers, the gunfire mask has been inverted but should not be mistaken for final FX. Because of the composite camera move this one is extra wide, click the thumbnail to watch in full.
Color flats and shadows for 004-09. The rough BG needs to be replaced, but otherwise this cut is ready for composition.
Color flats and shadow animation for 002-03. No overlay effects included here (they’ll be placed in the comp). This cut is ready for composition.
Here is progress thus far on cut 004-02. Keys are complete, and it has been tweened up to frame 53.
Oct 20 2010
Key frames and rough breakdowns on the rotation for the extended cut of 006-016. The scream lasts approximately 20f, and the animation here has been timed to match.
This marks completion of all animation keyframes. In addition, we’re approximately two cuts from completion on in-betweens.
004-02 tracks with the UAV bug as it flies down the air shaft. This scene is built slightly differently from the usual cuts, requiring a marker to be placed into the scene to establish the movement of the character. The drawings are then keyed to track the marker.
Completed line animation for all elements in 012-06. This is possibly the heaviest cut in the short, composed of over a dozen separate elements.
Additional elements added to 012-06. Some additional explosions and background debris are still in the works, but this cut is nearly complete.
012-06 represents a very challenging cut. While there are many elements in the composition to animate, by attacking it piece by piece we break it down into manageable components.
Included in this test are several of the loose pieces on the set (chairs, carts, floor corpses, etc), pulled into a tightly spinning nucleus left behind by Kali’s teleport out. As the various parts are crushed together, they reach fusion and set of an explosion that wipes us out of the scene.
Elements still missing include the gory corpses and blood being pulled into the center from the crow’s nest, secondary explosions that tear through the room in the moments before the fusion blast, and various bits of debris created by the massive vacuum on the walls and pillars and pipes around the room.
When the scene is complete there will be a lot more motion, but by having everything follow a similar path we create a cohesive flow. This partial test illustrates the basis of that motion as well as the element by which we transition out of the cut.
Several corrections were made to the test and additional elements placed into the sequence, but it remains incomplete as listed.
004-06 looks a lot simpler than it is. Each layer of the wasp is separated from the antennae to the abdomen, allowing for small amounts of parallax shift that gives some additional movement. The expanded canvas allows for camera movement, and the reflections of the surrounding environment will also play off the body to varying degrees, creating even more motion over a base of holdframe elements. The wings are a randomized cycle, allowing us to stretch the length of this cut fairly far.