SCENES 1-9

SCENE 1

With a number of programs, I managed to make an effective blend of mediums for my title sequence and first shot of my antagonist. The hand drawn background animated in After Effects features moving parts and camera panning. by layering all these elements up and anchoring them in place, I created my intended industrial aesthetic which I feel sets up for a good film. The rotoscoped character movement fits in nicely. One unintended feature of the scene was the graininess of the background as a result of combining scanned in pictures with photoshop. However I opted to keep it in because I liked the look of it.

Scene 2

This scene features the same blend of mediums layered on one another. In the same way as the first scene, it looks effective. However the background was drawn on Photoshop rather than by hand, giving it less texture but still working somewhat considering the continuity of the film. Continuity proved to be a potential issue when using a number of programs but I think it still allows audiences to enjoy the film without the changing look being too much of a problem.

Scene 3-4

The rotoscoped character movement looks extremely effective, achieved by drawing my character over each frame. By rotoscoping, I managed to get timing and human-like movements perfect. One issue with the movement which was unintended is the presence of red outlines from my pre production process of drawing it all in red. This proved difficult to change entirely back to black outlines when I had finished animating it in TV Paint.

As the camera zooms out and reveals the protagonist, it looks somewhat blurry especially around the wires. However, the scene sets up for good anticipation and has it's desired effect so did not bother me too much.

Scene 5

A simple animation done on TV Paint sets up for more anticipation as my protagonist essentially is turned on. As not much animation was needed for this scene, it was relatively simple. The background differs from my film's previous backgrounds because it is flat colour rather than being hand drawn. However as the focused close-up of the character this was not too much of a problem.

Scene 6

Going back to the blend of mediums, you see the robot waking up and turning around. This scene works well with sly camera movement. The rotoscoped character movement surprisingly worked effectively for the robots movement. I was initially skeptical about whether its legs would be a problem as the structure is different to a human leg. It was difficult to rotoscope as I had to improvise somewhat but it ended up working well,

Scene 7

Another simple animation shows the human brain feeding intelligence to the robot. Despite it's simplicity, I applied an arc to the movement of the blue dots simply for aesthetic reasons and following the 12 principles of animation.

Scene 8

Made in TV Paint, I animated the simple character movement with a background resembling a circuit board descending onto it. Looking more 2D than the other scenes, it stands out somewhat as different to the other scenes, but represents the character going into a kind of trance where the aesthetic will be different.

Scene 9

The shot of all the engineer characters - I was experimenting with the properties of After Effects, looking at camera movement, applying coloured lights and movement into an animation. It looks different to the general aesthetic of the film because it was the first scene I made. However, as previously stated the protagonist is meant to have entered a trance at this point, so works quite well, as long as the audience is aware of this fact. This should be made more obvious in future scenes as it leaves the room the characters are in and shows more content in terms of background.