Archive for the “Keyframes” Category

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.

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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.

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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.

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Added mouth frames for both head positions of 005-01, for dialogue that’s not shouty.

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Clean keys and some rough breakdown tweens for 004-08. The BG elements are temporary placeholders, but should represent the position of cables and such for the purposes of action composition.

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Keys and rough breakdowns for 006-14. This cut is ready for cleanup and tweens.

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clean keys for grouped actions that blend with the actions in cuts 007-01 and 005-01. The keys test represent motion timing only, and not final cut length timing. Use of grouped actions from the other cuts allows all three to be composed as needed.

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Keys and all tweens for 012-01. The current teleport effect is a temporary example of how we might mask in the action, and then create additional effects based on the mask in post-production.

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clean keys and roughs for 013-01. Some extension has been placed in the kick and the shooting, additional flex can be gained at the opening hold.

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Key frames and rough tweens for 010-01. The movement has been extended another half-step to bring the guns on his belt fully into frame, teasing the threat to come.

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Flat colors and shadow layers for 012-03. Bear in mind that the final color scheme is affected greatly by composite passes in the comp phase, current colors may appear bright or off-hue. This cut is ready for composition.

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Clean key frames and rough breakdowns for cut 006-13

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Keys and rough breakdown for 012-05

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Keys and roughs for 006-11. There’s a couple placeholders and no stagger, but we’ll get that on the tweens. All the effects layers are in place.

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Clean keys and rough tweens for 004-09. There’s flex points for the comp timing in the hold before the jump and at the end.

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Cleaned keys for 006-01 and finished lines for 006-07.

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Squish-n-drop. This caps off the rough keys and layouts on 006.

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Leg-snappin’ action for 006-13. Crunchy!

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(-EDIT-replaced with FX layers included)

Coming into the final stretch on keys, only a handful of cuts remain. 006-11 here still needs timing tweaks to the ending movement so that it works into 006-12 (staggers, basically).

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009-01 builds off the action of 007-01 and 005-01, all of which show Lincoln working at his holo-interface. Here we’ve added more extreme lip movements in the second position, as well as adding new hand gestures.

The nature of these cuts (largely built from grouped actions) allows us to mix and match elements from each to create the additional variations in action needed to extend the times and even allow the cuts to be used more than once.

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