THIS IS THE BRIEF I'VE BEEN WAITING FOR
I'm so interested in Animation at the moment. My work is often created with the intention of MOVING at some point (articulated dolls/puppets, scenes), so it is really exciting to finally get the chance to MAKE IT MOVE. I want my illustrations to have LIFE and now here is a brief in which I get to create that life and motion.
Extend your Printed Pictures aesthetic into moving pictures!
A short sting/advert for a documentary about your author
Could I do it as an advertisement for the Poe House in Baltimore? I've been learning about and making work about Poe's location, his house in Baltimore, which is now a museum. I think it would be appropriate for my sting to reference the house as the animated short is likely to be conceptualised around the work I have done about THE HOUSE and SPOOKY SCENES.
I intend to recreate Poe's mysterious MOOD AND IMPACT in my moving pictures.
I'm so interested in Animation at the moment. My work is often created with the intention of MOVING at some point (articulated dolls/puppets, scenes), so it is really exciting to finally get the chance to MAKE IT MOVE. I want my illustrations to have LIFE and now here is a brief in which I get to create that life and motion.
Moving characters
Do I have to make it all in After Effects? I'm impressed with the things that can be done using After Effects and enjoyed making crazy pans and applying properties to the objects, but can I make the characters/puppets/scenes SEPARATELY and use After Effects simply to bring it all together in layers?
Can I use stop motion and PHYSICAL puppets?
Could I do it as an advertisement for the Poe House in Baltimore? I've been learning about and making work about Poe's location, his house in Baltimore, which is now a museum. I think it would be appropriate for my sting to reference the house as the animated short is likely to be conceptualised around the work I have done about THE HOUSE and SPOOKY SCENES.
Carson Ellis
The Wildwood Chronicles Book Trailer - Carson Ellis. This was one of the examples shown in the briefing and I found it utterly enchanting.
Colin Meloy's fantastical folklore storytelling is illustrated by Carson Ellis's intricate paper worlds. A marriage of nature and whimsy creating a 2 dimensional land of wonder.
Ellis's rich scenes are translated to moving image through the use of After Effects, using layers to build up the depth of a dense forest with foreground through to background. Each of the assets are separate layers, able to move independently from the background.
Panning is used to move the audience through the woods - we are moved through the trees as the frame scans further left. We move deeper into the woods through zooming closer. The under layers become foreground as we zoom towards them.
There is so much going on in this animation, which could easily make it overwhelming, but since the movements are all subtle and natural, it means that the overall motion is immersive and inviting.
The viewer is transported into Wildwood and left with a taste for the stories, just as a teaser should. Not giving everything away, but flirting with a promise of what is to come.
Colin Meloy's fantastical folklore storytelling is illustrated by Carson Ellis's intricate paper worlds. A marriage of nature and whimsy creating a 2 dimensional land of wonder.
Ellis's rich scenes are translated to moving image through the use of After Effects, using layers to build up the depth of a dense forest with foreground through to background. Each of the assets are separate layers, able to move independently from the background.
Panning is used to move the audience through the woods - we are moved through the trees as the frame scans further left. We move deeper into the woods through zooming closer. The under layers become foreground as we zoom towards them.
There is so much going on in this animation, which could easily make it overwhelming, but since the movements are all subtle and natural, it means that the overall motion is immersive and inviting.
The viewer is transported into Wildwood and left with a taste for the stories, just as a teaser should. Not giving everything away, but flirting with a promise of what is to come.
Directed by Aaron Sorenson.
Although this credits sequence doesn't have the depth and physicality to it that I love about The Boxtrolls films, it does use digital animation very cleverly to illustrate the ideas of the film.
Rotation and position communicates falling down - action packed and adventure.
Rotation and position communicates falling down - action packed and adventure.
Type overlays the animation, using the dark spaces and forms in the images as to add to the scene rather than take over.
Definitely not all After Effects but such a spooky tone and mood!
Similar in atmosphere/tone to my intentions
Similar in atmosphere/tone to my intentions
Made to LOOK OLD - grain, camera wobble, flickering light, black and white filter. Jittery camera, distortion.
Paper puppets - disturbing. Separate parts for limbs and joints - I could make my characters in parts and then put them back together on-screen.
Dontshare from gianluca maruotti on Vimeo.
Uses layers to create depth. Lots of houses on different layers moving at different speeds.
Bird movement - I am considering using a raven/crow in mine so I need to study how this artist has made the bird come to life. It moves very quickly and the wings move in a 'V' formation - up and down.
Still scenes with only a few things moving, creates a sombre and melancholy tone. E.g. curtains moving in the wind.
Same beginning and end - circular, narrative, emotional.
Same beginning and end - circular, narrative, emotional.
Giangrande - Paper Plane (Official Video) from gianluca maruotti on Vimeo.
The artist makes paper puppets - uses blu tac to stick paper down, stay in place.
USED AFTER EFFECTS IN THE WOODS SCENE - the same scene of trees, but panning across seamlessly, as though the woods are never-ending
wheels spinning on anchor points
Sea coming up, same texture repeated and layered
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