PRODUCTION: Coloured shots 10, 32, 37, 38, 39, 40, 41, 43, 46, 56, 58 & 59

    Here are still shots as well as moving images of all the animation shots that I have coloured for the rest of March as well as throughout April. Since some of the animation shots were rather long, Photoshop couldn't process them, therefore I have taken some frames out of the the scenes as well as to stop the page from freezing from the large amount of animated shots. I have taken multiple screenshots for few scenes since a lot happens in a given scene. Furthermore I have take only a still frame from shot 46 since it's a very fast scene. All these coloured scenes conclude all my work for the film Pups as there's nothing left, except for shadows to be added in the After Effects which is what Estelle said that she'll do, also music which currently being composed by a student from a music course in our University.

Here are screenshots from scenes in order  37, 38, 41, 40, 43, 46, 58, 59

Animated shots in order: 10, 32, 39, 56

PRODUCTION: Backgrounds 55, 58 & 60, and coloured shots 8, 9, 17, 18, 24

A bigger update of what I have been doing since the last post.
Here is background 55, it's when Jenny looks out of the window after she wakes up. Since she lives quite high I made sure that she'd see the roofs of most of the buildings that were close to to her house. I have left the sea light grey as Estelle is doing all the environmental animations.

After talking with Hilary about this shot we have agreed that to remove her shoes since it was clear that she was looking down. With that in mind I removed her legs and shoes and cleaned up the puddle a bit so it would look better as well as redefined the Jenny's shadow. I'm really happy with how this looks.

The last background in the story. This is where Pup appears and jumps out of the water. I have made the water grey again so that Estelle can animate the waves and water around Pup. As much as it was difficult to draw all the details of the houses, I enjoyed it. It's nice to see the whole town from a distance. It was nearly isolated but I have hidden a road of town so its not that closed off.

Below are all the coloured animation shots I have done so far. I'm slowly getting into the rhythm of colouring. Though I have to make sure to rest my hand because sometimes it starts to ache. Overall everything is looking good now so I've been mainly focusing on my dissertation.

PRODUCTION: backgrounds 5, 29, 43 & 46, 48,49, 58

Shot 5 - this is one of the moving backgrounds which is why the background is longer than normally. I have tested how long the background would have to be, in the post production process all the moving will be applied in Premiere or After Effects.

Shot 29 - this shot is when Pup looks out the window from Jenny's house. I had to keep in mind that Pup is smaller and everything in the house will be slightly higher than for Jenny. I think I managed to keep that perspective well. Also the sea is grey because it will be animated in Photoshop by Estelle so this is just a guide for her to know where the sea level should be. I'm rather happy with my progress of perspective learning.


Shots 43 & 46 - this is the second moving background. It will have Jenny running from point A to point B, the red outline is the camera size and movement. Point of background will also be used in shot 46 where Jenny begins to trip, since there isn't a change of the camera angle I felt that there wasn't any need for another background since this one worked well with animation. Before all the colouring process I have first tested out how both of the backgrounds would work with the animation.


  Here is the rough background test with finalised animation by Estelle:

 I have done the same with background shot 5 and shot 46.

Shot 48 - one the dramatic backgrounds. I can't wait to see the animated waves on the sunset. Again Estelle will animate this. I enjoyed drawing this a lot, a difference in colours and sun setting is something I looked forward to drawing this.





Shot 49 - this is a shot of when Jenny gets up from when she dripped on the rock. Unfortunately this will not be used since everyone agreed to make a wash with vague buildings as the background. I thought that Jenny would get up and move slowly towards the pier when the camera was focused on the sunset however that was not the case.

Shot 58 - Estelle wanted me to draw the scene when Jenny finds the hat at her doorstep since she felt that she needed to see a fresh view of that scene. I took some reference photos of my feet in heavy boots and a hat laying in different positions. I think that the hat position is good since its consistent with Jenny picking up the hat in the next scene and looks like it contains a shell. I still need to show this to Hilary to see what she thinks of it because the original drawing wasn't clear in what it was showing. I have started colouring one of the animations shots I did and I'm moving onto another background. I feel that there has been a lot done this week and that we're going at a good pace with this project.

PRODUCTION: backgrounds 8, 36, 37 and 59

More background shots throughout this week. Shot 8 is whre Jenny comes over to Pup. This background was fairly quick and easy to do as there's little details here.





This above shot takes place just in front of Jenny's house. Somehow it doesn't feel like it should, I'm not quite sure how to change the angle in this plus with being strained for time to finish this project I think it's good as it is. Partly I think they layout of the town is not as steep friendly as it should be, but since we're trying to have a small seaside village it's hard to just give rows and rows of same houses since it will lose the feel of a quiet town. However I feel that my knowledge of drawing in perspective has grown. Estelle likes this and didn't say anything negative about it.

This shot on the right is practically the same as and one from previous post, however it's a little bit zoomed out. I felt that it would be better to redraw the panel but with applied changes. Somehow I feel that just zooming out of the already drawn picture and patching the sides would be rather difficult to do since the brush that we're using is pressure sensitive and going over the same place twice will darken the colour.
                                                                           

This is a shot where Jenny opens the door. I haven't had a good chance to draw Jenny's house properly, except for when the camera pans towards it in an early scene, since I drew a whole town for that. I feel that Estelle prefers to draw it since it is her own creation and I was happy with her taking one of the backgrounds and drawing it. I really enjoy looking at the rose bushes, I think that they do a good job at adding a good feel to the house. I've changed it twice because of the height, other then that it was a pleasure to draw. I'm feeling good with the progress that I'm making with the backgrounds and I'm hoping to jump into colouring animation shots soon.

PRODUCTION: backgrounds 40, 41

Here is shot 41, this was the shot that I was worried about with being static because this is a big chasing scene and it looks really good so it would be disappointing to have a bad background ruin it. After I have done changes to background 35 this wasn't too bad to do since I knew where to begin and worked from there. After putting the animation and background together it looked fantastic and I'm really happy that this works as a background.
Background Shot 41

I had little problems with this shot since Jenny occupies most of the screen space anyway so I did not want to add any elaborate details in the middle of the drawing, also when I look at the overview of town there really isn't anything anyway. It didn't take too long to draw.

PRODUCTION: backgrounds 47 and 35 (new)

These shots have taken a lot of time to do as shot 47 had to be redone 3 times due to the wrong feel of the angle of the building on the right, one major part was to add a door to make the drawing more interesting and less empty, plus the door would be a great indicator of the angle of the hill that Jenny trips on. I have researched some steeper angles of houses and how their doors looked like however due to the steepness of this angle it either cut the door in half or it had to be made smaller but because Jenny was present it would push the scale size off balance. This process was rather frustrating but in the end with some brainstorming with Estelle and Will we have decided to decrease the door by a little bit so it still gives off the illusion of an angle.

Shot 47


Along with the process of drawing shot 47, I have looked up at some of the previous shots that still needed to be done and came to conclusion that shot 35 is throwing everything off balance because of how far Pup and Jenny were and it would make later scenes look very very static with exception of camera being on rolling away Pup. I'm really surprised that no one has noticed that mistake, I guess that in my excitement for submitting my first background shot I didn't take in the geographical placement of the scene and after discussing all the problems and complications that would follow afterwards if that wasn't fixed quickly. I have changed the view and place of where shot 35 should be taking place and everyone agrees that it's much better and it also gives off the feel that Jenny and Pup are at the top of the hill. I'm rather happy that I have noticed that because it would definitely derail my work process and put me behind schedule which is something I do not want, since some of the already done backgrounds ate into my schedule. I am hoping to catch up with everything.    

NEW Shot 35

PRODUCTION: backgrounds 3, 9, 17&18

 These three backgrounds did not take that much time to do. They are featured in the earlier scenes. Background 3 will have animated sea by Estelle, this is why I have done this shot earlier so she will have enough time to animate the splashing waves against the poles of the pier. The last background will be used in two shots since there is little camera movement. I feel that it's good to step away from some very detailed work to do some really simple back drops.