Archive for the “Lines Tests” Category

Wow, I guess we haven’t posted anything for a while.  We’ve been really busy on animation projects that we can’t really share or post about here. Yeah, we sold portions of our souls to Marvel\Disney… but not to worry… we’re still your favorite  indie animation studio.  To prove that fact, we proud to announce our first fully in-house produced video game. Sure we’ve done a ton of game work in the past for clients like Ubisoft, EA, Bungie, and Microsoft, but we’ve never developed our own game from start to finish in-house.

So because we haven’t updated in forever, we’re going to show you guys everything from the very beginning on this game development. This game is going to be centered around the Mista Mountain character from the Joe is Japanese series and his epic battle to rid the Yamanote Line of the Chimpira scourge.  Basically it’s a 2D side scrolling fighter. We’re trying to get inventive in this old school genre. The real-life Mista Mountain has a unique fighting style and we’re going to attempt to capture his techniques  in a fun to play head-crackin’ scroller, about his real life exploits on the train loop of Tokyo, Japan.

Stay tuned for a ton of updates as we develop this game.  Keep a close eye here on our animation studios’ production blog for on-going updates… and eventually maybe even some playable beta versions!

<- CLICK THESE FOR BIG VERSIONS!

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BG layout, colors and shadow flats for 008-01. Scratch time and needs lighting effects (blowout from elevator interior, direct light from hanging lamps.

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color and shadow flats for 006-14

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Color flats and shadows for 006-13

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Color flats and shadow layers for 006-12.

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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.

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Colors and shadows for 012-04. Ready for composition.

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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.

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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.

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Color flats and shadows for 004-09. The rough BG needs to be replaced, but otherwise this cut is ready for composition.

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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.

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Flats and shadow layers for 012-02. This cut is ready for composite.

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Complete lines for 006-16 extended.

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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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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.

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Additional elements added to 012-06. Some additional explosions and background debris are still in the works, but this cut is nearly complete.

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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.

-EDIT 10/11-

Several corrections were made to the test and additional elements placed into the sequence, but it remains incomplete as listed.

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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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