Rough animation for c012. Lots of zap-zap.

Render for cut 040. Still tweaking out his rotation and the colors just a bit…

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key frames and scratch timing. The buttons on the wall are being pulled in exchange for a Forerunner pattern on the wall which unexpectedly comes to life as Grif is punching at it.

Tie it up, ram it in. Call it “hotloading”.

Here’s a line test for cut C040.

keys and scratch timing for c013. I love the sound of brass bouncing on the floor.

Initial frames for c013. It won’t loop like this in play unless someone decides they really want to extend the cut, but from this point goes to Church’s “Aw, c’mon!”, and Simmons reaching for the rocket launcher. When Church begins firing again, we’ll switch up his hands so that he fires the other SMG.

The plan is also to match cut this with c015 wherein Church hotloads the launcher with the rope-tied rocket.

Poppin’ Jackals. Takes place immediately after Church’s crazy swingin’ around shooting cut.

Should be fun to put sound to this.

Here is a quick speed paint on the feeding tubes for the Grunts.

Here’s a line test of the Jackals reacting to Church and the rocket zipping past.  This one has all the tweens.

This is a line test of cut C019.  Again, the timing is only to test the animation and is not synced to the dialog.

C035 linestest. One of three Jackal cuts. The shield lines will be replaced with a color hold and effect, and there’s a good place to put in some verbalizations, squawks or shrieks. This also I think the only time we see a sniper variant Jackal and the Type-50 Beam Rifle.

Is the laser sight on the sniper’s headgear visible from an angle, or only when directed at the player?

This line test for cut 004-01 shows the finished line work with tweens.  This is only scratch timing to show the line work, and is not synced to the dialog.

audio sync for C019. After firing the rocket launcher.

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Last of the necessary production model sheets, check out the Jackal after the jump.

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This is a partial line test for cut C006, showing Grif’s actions.

Here is an audio sync with ruff keys for C004. This cut then transitions into a whip zoom to reveal tunnel entrance. (more…)

Preliminary design for the feeding room. Lighting and textures to follow.

Here are the rest of the keys synced to audio for Cut 006.

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So now we’re moving from the action scenes into more of the dialogue phase. There’s still a few action cuts to take care of, but the first half involves a lot more talking, and that makes the timing a little trickier.

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