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.

Quick cut that falls immediately before the Cleaner kicks the in door. This action underlays the dialogue of Lincoln saying, “I know, I know…” and is accompanied by a lighting flicker and the rapidly changing reflection of the holgraphic displays in Lincolns lenses that alleviate the static holdframe.

Has a couple in-betweens after the splash that need work, but other than that this one is set. Lots of goopy splatter bits, should be fun for the sound guys.

The attached color key gives some idea of the way the splat covers the surfaces in the room.

Full lines test for 06-004. Next we’ll make them splatty.

Keys and rough tweens for the hand actions in 005-01.

Finished linestest for 06-010 (as before, the clip is extra wide to match the canvas, so click on the preview to see the action).

This cut is ready for color.

This one is nearly done, with the exception of our boy Benny, who needs some frames still. The soldier and his effects and secondaries are complete, though.

The canvas has been expanded considerably to allow for the camera to slowly push in, maintaining the framing of the characters but steadily drawing down the distance between them to point-blank range.

All keys and tweens lined out for 002-01. We added an additional action for the left arm that lets it rest upon the table (the right arm presumably does so behind the body base). The action has been slowed a bit here by spacing out the groups and tweaking the time. Depending on whether the concern is that the motions are too fast, or the actions aren’t deliberate enough, we can add frames or tweak the timing further.

Aside from that, this cut is ready to flat.

rough animation for cut 002-02, which ties up scene 002. The focus of the action is the movements of the right arm, which manipulates some sort of tracking holographic input (possibly flying the bug, or aiming it’s cutting laser for 004-01).

Cut 007-02 was originally matched to cut 002-01, but on further consideration 002-01 is set pretty far out for the action in 007-02. We think matching to 002-02 instead will allow us to show the same action from a better angle. We can change up the base frame easily enough to avoid making it a complete match.

Lines tests for cuts 006-06 and 15. Primary line animation is complete, secondary animation is largely done, these cuts are ready to flat.

This cut was pretty basic, so we were able to take it all the way to the linestest stage where final line animation is checked to make sure everything flows effectively. This cut is ready for colors and proper composition/effects.

The tones on this one exist only to show the highlight across the iris more easily, and the overlay effects are some quick-n-dirty placeholders that we built to show how windows might open and close on the inside of the goggles. With the actions grouped we can compose them to fit the need of the effects, which are more slightly more complicated to build. The eyes can shift to either side, open wide or blink closed, and the iris can dilate on the far left action (additional frames would need to be built to duplicate the dilation animation across all three positions).

Keys, tweens and roughs for Cut 002-01. Only a little cleanup left on this one.

“Grouped actions” are little sets of partial frames that can be intercut in multiple ways to create longer sequences. It’s important not to over-use them in rapid succesion in order to avoid echo action, but when properly composed they’re indispensable.

clean keys for the bump, plus rough tweens. All scratch time, and we still need to drop in the shadow work.

In-house sequence for use on the reel, and wherever else it seems appropriate.

Closing mockup showing how we transition to black.

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Explosion check

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.