More BG element linetests.

Added firing frames. Casings still to come.

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Casings added. Bodies next.

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Linestests for near BG characters falling to machinegun fire. With judicious timing these three can be doubled up for the half of the rotation that passes by before the transition.

Additional BG elements next.

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Secondary BG characters with limited animation. One final plate and perhaps a nice explosion will round out the BG elements.

big splat at the end of Punching Bag. There’s a mockup of 008, 009 and 010 after the jump so that you can see how the cuts splice together.

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most all the frames for c001, there’s a touch of tweens on the BagMonster towards the end but that’s about it. The transition FX aren’t in place, but the timing is set.

The full video at the beginning might have this playing a bit slow on some computers, at least at the beginning, but you can always click the GIF to view it in a window of its own, which can help if the framerate dips.

Punching Bag cut 006, with the full frames for Nike but the key frames for the BagMonster.

full lines for c003

linestest for c009, Nike’s POV punch into the BagMonster’s face.

Key frames and breakdowns for c005. It’d be nice to hold a little more at the end, but we’re right up against the 24f cut time.

key frames for c003, wherein Nike gets a faceful of breath that probably reeks of sweaty gym bathroom drains. Or so we’d imagine. Ah, Smellovision, when will your time come…

lines for c002, wherein the BagMonster™®©(j/k) strains the chains that hold it in place.

Cut 004 constitutes the longest single cut in the Punching Bag animatic.

-EDIT-

Updated with full sequence. Earlier partial cuts can be found after the jump.

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No tweens for this one, it’s set for the next phase.

Key frames for c007 of the Punching Bag spot. The sketch style is a bit more difficult to tween or hold but reflects the base for the unique style of the cut.

Here’s a test of cut C003 with shadows.

c003 retake keyframes. Matches animatic as closely as possible.

Mockup comp for c002 with keys and the zoom. No shadows, but we’ll get to those. The timing matches out to the animatic at 2:12

meteor added in. The BG will be a long, wide image that encompasses the transition from ground to the sky, and with any luck we’ll be able to reuse that same background for cuts 007 and 005.

Key frames for Nike’s moves at the end of c002. By animating her action at her largest size (slightly larger, actually) we can push in to this from the point in the zoom where she’s large enough to see detail. The canvas has been extended to fit, but the original action safe remains to give you some idea of the actual framing.

-EDIT-

Corrected expression, added some rough breakdown frames.

Lines for c009. No tweens necessary, but we still need to drop the meteor in there.

Costume and proportion corrections for c005.