004-11 matches 004-09. The line work for 09 is complete with the exception of the frames where the wasp flies across the frame to settle on the power unit.

lines test for 004-12, the wasp extends its antennae to transmit (transmitting effect to be handled in post).

rough key frames for 006-14.

Getting into the bug bits. Clean keys for the bug’s abdomen transformation, firing the fiberoptic threads into the processors. Still needs the eyebeam laser effect.

keys layout for 012-05, Kali embraces Benny before they ‘port out.

Rough animation for 010-01, seeing the Cleaner as he walks down the hall towards Lincoln’s door. The BG here is a simplified placeholder meant only for placement and scale reference.

Bullets impact through the holographic Lincoln and Nine. The distortion effect will be built in composition.

Layout rough for a new insert cut to go right at the beginning. Click for a larger version.

Rough frames for 013-01. The first part of this sequence also covers 11-03, knocking out two in one.

Keys for 012-02 with costume details and some gainaxing.

May need some additional jaw action at the end. The red lines are for fire, which is separate from the grey-brown of the smoke and dust.

Initial keys for Kali’s sweeping gesture. We’ll add the costume detail (as determined in the previous post) after approval.

Possible configurations of Kali’s costume.

The initial design roughs suggested a more complicated and random positioning of the gems which would be difficult to animate, and stands in contrast with the more patterned composition of the stones on her forehead (which are in turn intended to be a contrast against the more chaotic growths of Benny’s stones).

As a solution we suggest reducing the number of gems and placing them in consistent positions. The pattern chosen here is open to revision, but suggest a good base grouping that carries the design theme of her forehead gems. We can increase the number of gems, but in doing so the chances of position drift also rise, as well as considerations of production time.

The second aspect of the initial design that may be in question was that of her clothing (or lack thereof). Designs A and D suggest various skin-tight options, while C combines a line pattern with nudity, and B suggests nudity but excludes detail. The line patterns in A and C may also serve as effects layers, glowing or pulsing to indicate forces being generated.

key frames for 007-01. This is a match to 005-01, but requires all new frames as his posture and attitude have changed significantly from the previous cut. We’ll still re-use some elements like BG renders and some of the FG effects.

Key frames and partial breakdown frames for oo6-16, affectionately named “the headscraper”.

Key frames for 006-04 and 014-02.

Last match cut on this angle. Keys complete, tweens to come.

Completed key frames for 006-05.

Scene 006, cuts 02 and 05 are match cuts (012-04 as well), so by taking down this one we’ll run through three on the shot list.

Not much action in 006-02, it establishes the character (01 establishes scene, o3 reinforces his condition as established here). To keep it from being too static we’ve added a slow, exaggerated blink suitable for someone under heavy sedation, and fine line of drool running off the chin.

006-05 is much more frame-intense. We’ve moved through about 2/3 of the scientists keys, and set up Benny’s slow chair raising action. Still to key are the actions of the headrest as it opens up and removes the injector.

Key frames for cut 07-003. Needs  cleanup and FX layers.