|
    
Houses
and exteriors, from sketches to final sets
- Planning
|
|
|
|
|
|
|
|
|
|
This
image on the right is the sole example
from the storyboard, and therefore
the starting point for the "curved
sets" in the animatic. Still,
apart from one interior conceived
in forced perspective (and one more
as an alternate variation of another),
I made only this four exteriors with
intention to be curved, or, let's
say - non-realistic. But apart from
the ones with the plane, the North
Pole and the Globe shots, remaining
two could easily be interpreted, or
confused as realistic. It wasn't enough,
I needed more exaggerations. What
I really needed, was a plan...
|
|
|
|
|
|
|
|
|
I
made this chart on the below right
to compare simple compositions of
main shots. I became aware of the
harsh reality that most of the shots
in this short film of mine are about
to be prevalently flat and non cartoon-like.
I could choose if I should make everything
more straight and reality-based (and
forget about the North Pole and Globe
shots), or should I force the "distorted"
concept, instead? But, there wasn't
really a choice, the animatic cut
answered that question, long before
the problem popped up. So, I started
to "force" the sets, the
houses, everything I could. Some sets
that I have originally planned as
simple improvisations, I had to re-think
and plan them all over. More sketches,
more 3D simulations.
|
|
|
|
|
|
|
|
 |
| |
| _1
The ARCTIC PIRATE index |
| _2
Color chart development, coloring and
light tests |
| _3
Storyboards, shooting plans, concept
arts, sketches |
| _4
Puppets, from sketches to animation |
| _5
Vehicles of all sorts |
| _6
Houses and exteriors, from sketches
to final sets: 6-A - Planning |
| _7
Interiors |
| _8
Small props |
| _9
Graphics and maps for posters, banners,
press, signs etc. |
| 10
Shots against all odds |
| 11
Simple shots, confined spaces |
| 12
Basics: workbenches, tools, logistics,
etc. |
| 13
Miscellaneous |
| |
|
