Minor Project: Modelling Progress - 13/12/14

The modelling for the body of the Delivery Man character is almost done now. 

The hands and shoes are on their way to being finished, although they're not pictured. The legs and tie need a bit of refinement as well, but that shouldn't take too long. 

The modelling for the body should be finished by the end of the weekend, so I can move onto modelling the head fairly soon.

As for Franklin, the skinning is about halfway done, so that should be finished sometime Sunday evening also.

Smoothed, No Wireframe

Smoothed, Wireframe

Unsmoothed, Wireframe

Minor Project: Touchstone Submission

Minor Project: Modelling Progress 4/12/14 - Franklin Complete and Delivery Man Progress

I've completed modelling Franklin more or less now. His teeth and tongue will be added when I get rigging.

I've also made a start on the modelling of the Delivery Man character, blocking out the general form. I plan to have the Delivery Man modelled before the Christmas break.

Franklin

3/4 Smoothed, No Wireframe

3/4 Smoothed, Wireframe

3/4 Unsmoothed,Wireframe

Delivery Man Progress

3/4 Unsmoothed, Wireframe

3/4 Smoothed, Wireframe

Minor Project; Modelling Progress 1/12/14 - Sprouting Limbs

This is my progress so far with Franklin's construction. 

The general form is there, although several details are yet to be added. I've yet to add his hands, although they'll be there soon. I think the next thing I'm going to model is his undershirt, which is mainly a collar and some buttons, as well as refinements and a bit of asymmetry on the folded and ruffled sleeves.

3/4 Smoothed, No Wireframe

3/4 Smoothed, Wireframe

3/4 Unsmoothed, Wireframe

Minor Project: Modelling Progress 27/11/14 - Franklin's New Do

Below are a few screenshots of Franklin and his roughly modelled hair.

I've yet to include some of the details, including how the hair will interact around the ears, although this gives a rough idea of how the hair will appear overall.

3/4 Unsmoothed

3/4 Smoothed

Front Unsmoothed

Front Smoothed

Minor Project: Rough Delivery Man Design

I've put together a very rough design for the Delivery Man character.

After researching what a 1970s delivery man would look like, I came to the conclusion that being that it is a British setting, the most suitable choice would be a run-of-the-mill English postie.

I may alter the outfit slightly, give the impression that the man works for an independent delivery company, although I think the familiar Postman appearance is a bit more humanising and helps represent the audience more effectively. 

Minor Project: Modelling Progress 25/11/14 - Adding the Ears

I've added Franklin's ear and neck now, as well as restructuring a lot of the geometry. 

The ear will predominantly be under hair, so I've not provided it with a huge amount of detail. Also, I've added an image of the head without the wireframe and I'm starting to worry that its all looking a little too flat. Whilst I work out how to provide the model with a bit more depth, I think I'm going to start constructing the body.

3/4 Unsmoothed

Side Unsmoothed

3/4 Smoothed

Side Smoothed

3/4 Smoothed, No Wireframe

Minor Project: Modelling Progress 23/11/14 - A Touch of Rhinoplasty

Franklin has undergone a little facial reconstruction, coming out with a brand new nose.

It has shrunk somewhat compared to the drawing, but I think the smaller size suits the overall appearance a bit better. 

Next step is to tidy up the geometry and graft on some ears. 

Unsmoothed

Smoothed

Minor Project: Modelling Progress 22/11/14 - Defining the Eye

Now that Alan has adjusted and repaired the general layout of my mesh, I've began to define the eye.

The eye is getting there gradually, although it needs to be polished a bit. I think this may be best left until I've established the general appearance of the other facial features, otherwise I feel I may end up having particular features which don't sit well with the others, i.e. super refined eyes next to a soft and stylised nose.

The mesh is still pretty untidy, but at least the right loops are in the right places. I think some digital rhinoplasty is the next logical step.

Unsmoothed

Smoothed

Minor Project: Modelling Progress 20/11/14 - Adjusting Franklin's Cranium

The overall construction of Franklin's head is more or less there now.

I've adjusted the overall shape of his cranium using a lattice deformer so that its all a bit more proportionally uniform, so it looks like I can move onto the refinements, most notably, the gaping void in the middle of his face just begging to become a nose.

I'm unsure of the spacing between the eyes, also. Although this may correct itself when the bridge of the nose and the eye socket are blended together a bit more.

Unsmoothed

Smoothed

Minor Project: Modelling Progress 18/11/14 - Revising the Topology

After receiving feedback on the topology of the eyes, I decided it would be simpler to completely restart the modelling of Franklin's head.

This time, the essential edge loops appear to be correctly placed, its now just a case of completing the general construction and finessing the details. 

Unsmoothed

Smoothed

Minor Project: Franklin Modelling Progress 16/11/14 - Starting to Model the Head

I've been tweaking the orthographic for Franklin this weekend, but in the meantime, I've started modelling Franklin's Head.

I've opted to use extrusion methods this time around, ensuring I get the appropriate topology from the outset. At this stage, I've yet to add definition to the brow line, cheeks or nose. That can wait until the necessary topology for the rest of the head is in place. 

Unsmoothed

Smoothed

Minor Project: Franklin Outfit Finalising and Hairstyle Possibilities

After posting the various colour scheme options for Franklin and receiving feedback regarding the most appropriate selection, I've decided on the colour scheme below.

In this design I have also added a simple pattern to the woollen waistcoat, as well as a tartan-like pattern on the shirt. As before, I've tried to strike a balance between unsettling, fashionable and period accuracy.

As well as the colour options, I also received feedback regarding the appropriate hairstyle for Franklin. 

I couldn't decide between two styles, nor the final colour, so I've posted several variants of both styles below.

Stylistically, I think the brown option is most suitable, as it doesn't clash with the other colours in the design. Although, from a narrative perspective, I am quite fond of the ginger option, as the associated stereotype plays into the 'social outcast' aspect of Franklin's backstory. Although, this pairing of style and colour scream Little Orphan Annie a bit too loudly.

This is quite an adult hairstyle, which plays to the incongruous nature of the character's construction, as well as the 'amateur hairdresser' aspect of Franklin. There is also something quite unsettling of seeing a young child with such a mature and well kept hairstyle. In terms of colour options, I feel the brown works quite nicely, although the implied 'Aryan' aspect of the blonde helps up the unsettling nature of the character. 

Minor Project: Floor Plan of Franklin's House

Before I can begin designing the aesthetics of the environments, I've had to work out some of the general logistics.

There are several different environments in my animation, though they are all sections of the same place; a row of Victorian terraced houses. 

As a result of the cramped nature of these houses, I've had to generate a logical floor plan for the house so that the transition from exterior to interior doesn't give the house a TARDIS-like appearance, i.e. interior spaces that don't appear to fit within the already established exterior space.

I've also theorised where unseen areas of the home will be. This will help to give the rooms on camera logical scale and a more realistic, natural construction. The idea with this being that whilst the spaces are unseen, in the audience's mind, if they were to walk through one of the closed doors, they would find themselves in the appropriate room.

The neighbouring houses have also been included, as well as the alley leading up to and including the garden. This is to dictate how the houses will naturally connect together, helping inform and encourage a logical exterior design of the buildings.

In short, the purpose of this plan is to dictate and encourage the construction of a natural and realistic environment, both inside and out.

Minor Project: Franklin Outfit Colour Options

Below are a selection of colour options for Franklin's outfit. The colours are picked directly from fashion items of the period and matched somewhat accordingly.

Some of the options are more outlandish than others, pushing the concept of pairing unsettling colours to imply a perpetual sense of dread an unease. Others are more muted, more in line with the muted colours of 1970s Britain.

Reading from the top left to the bottom right, I'm quite fond of the second, fourth, sixth, eighth and tenth options (which doesn't narrow it down by much, but still).

Each of these options seem to lean more towards a muted colour scheme, although I feel as though I need to retain a sliver of the 1970s brightness to prevent the outfit from drifting into the 1940s.

Minor Project: Franklin Hair Options

I've put together some possible variations for Franklin's hairstyle. 

Being that he's an aspiring hairstylist, I felt his hair needed somewhat of a flair, even if he is only a child. 

Originally, a sort of unsettling bowl cut was in mind, although having explored some other options, I'm leaning towards options three and six.

Three has an unsettling hint of flair, whilst six is more in keeping with his age and neglected upbringing.

The final hairstyle will probably fall into place when the rest of his appearance is refined.

Minor Project: Further Franklin Development

I've refined several areas of Franklin's design since my last post. Most notably, he is now a bit more proportionally accurate.

As well as his growth spurt, he has also had a slight change of wardrobe. He is currently sporting a wider collar, slightly different waistcoat and an adjusted pair of flared trousers.

He's also grown a set of facial features, although these are placeholders more than anything, and a bowl cut as opposed to the shorter hair he had before.

Franklin still needs a ton more development, but this is the first time since I started designing him that I've felt he's heading in the right direction.

Minor Project: Refining Franklin

Going from my preferred thumbnail, I've quickly drawn up some refinements for Franklin.

I've chosen to retain the simplistic anatomy at this stage, although that may change as the character is developed.

I started off drawing a character that was reminiscent of the teenagers in Dogtown and Z-Boys, although I felt this didn't really fit the setting nor was it at all unsettling.

Moving onwards, I began looking at more snippets from 1970s clothing catalogues, giving Franklin a fairly loose knitted jumper and flared trousers, although this seemed a bit too straight-laced for the character, not to mention its resemblance to Miles from The Innocents.

Finally, I decided to strip back the baggy clothing and instead, give Franklin a knitted waistcoat and long sleeved shirt. I decided to give him some marigolds to add a little incongruity to the outfit. This is probably my favourite of the refinements, hence the colouring, so this will likely be the design I expand upon.

In terms of overall design, I've began looking at paper fashion cutouts and diagrams in knitting and clothing pattern books of the time. Its a very simple, flat style, but I think it may work quite well in my animation, as a good balance between a realistic, yet stylistic environment.

Minor Project: Figuring Out Franklin

I've put together a few of the more successful thumbnails I've been using to develop Franklin's general appearance.

Taking influence from 1970s cartoons such as Camberwick Green and Ivor the Engine, I attempted to keep the general appearance basic, yet expressive.

Whilst I like the design in the top-centre and bottom-far left, I've opted to use the design in the top-far right, as I feel it hits the right notes of my influences (simple, soft geometry, etc) whilst retaining much of my personal illustration style.

Minor Project: Revised Stylistic Influences

Here is a small collection of my revised stylistic influences. The samples below are a combination of period relevant aspects of popular culture and other things I found visually striking.

In the top left, I've got Camberwick Green, chosen for the simple use of block colour and basic geometric shapes making up the characters.

Next to that is Ivor the Engine, chosen for its use of washed out, painterly textures.

In the centre is a screenshot from iOS game Lumo Deliveries, chosen for the striking cel-shaded lighting, contrasting yet complimentary colour palette and bold, off kilter environment design.

Underneath that is a frame from Mr Benn, chosen again for the rendering of washed out textures, as well as the uniform, yet subtly disorderly appearance of the buildings, thanks to the use of loose, hand drawn line art.

Finally, in the bottom left, is a cover from an issue 2000AD, chosen for the eye-popping realistic, yet stylised character design. Using traditional human characters, with exaggerated expressions and vivid colour palettes, it gives it a very Argento feel.

Overall, I want my animation to have a fairly realistic feel in regards to the character and environment design, but with exaggerated use of colour and lighting to help provide an unsettling atmosphere.

Minor Project: Franklin General Character Notes

These are my working notes for developing Franklin. I tend to design characters in a really uninformed way, so I'm investing more time in the background of the character this time around. 

At the moment, the notes here are somewhat scarce, although these are a snapshot of the working out over several notebook pages.

These notes will be added to throughout the duration of my character design process. 

Following this post, in the near future, you can expect to see some of the visual development for Franklin.

Motivations

• Pursue a lifestyle and career in hair and beauty
• To do what he enjoys, regardless of expectations

General

• Nine/Ten Years Old
• Old enough to confidently perform actions, without being overly concerned about the social implications
• Absolutely no interest in the expectations of his peers
• Thanks to his Mother’s obsession with her personal appearance, Franklin has had considerable contact with beauty magazines, catalogues and materials growing up. Whilst his curiosity was in the appearance of women in these magazines, it wasn’t necessarily in the way you’d expect. He was far more interested in the methods employed to transform these women from dull to delightful. Unfortunately, as a result of being reviled by his peers and his lack of local relatives, Franklin didn’t have access to a suitable subject to practice on. This resulted in Franklin poaching his neighbour’s pets and performing impressive feats of beautification, unknown to his parents and peers. 

Family

• Disinterested Parents
• Father, factory worker, a-typical masculine figure, interests in cars, football, drinking and sitting undisturbed in front of the television in complete silence
• Mother, vacant, distant, focused more on her outward social perception than her parenting prowess (unless it can work to her advantage)
• Both adhering to traditional gender roles
• Both fairly negligent
• Whilst they have an indirect influence on Franklin, they’re fairly individual people with very few correlating interests
• No siblings, cousins or other young relatives that are local

Life History

• Born into, and currently living in, an industrious English town
• Extradited by his peers since his early school days for having less than ordinary interests
• Generally considered unusual and creepy by his local community
• Although, he is not overly phased by his outward social perception, far more focused and concerned about his interests, hobbies and future prospects
• Thanks to having no siblings or young relatives that live locally, Franklin has always had very little interaction with children his own age

Research Notes

• Look into the childhood’s of 1970s serial killers for inspiration on their outward perception by their family and peers
• Jeffrey Dahmer (http://murderpedia.org/male.D/d/dahmer-jeffrey-photos-1.htm Childhood Photographs)
• Fred West (http://murderpedia.org/male.W/w/west-frederick-photos.htm Childhood Photographs)
• Dennis Nilson (http://murderpedia.org/male.N/n/nilsen-dennis-photos-1.htm Childhood Photographs)
• Harold Shipman (http://murderpedia.org/male.S/s/shipman-harold-photos-1.htm Childhood Photographs)
• John Venables and Robert Thompson (http://murderpedia.org/male.V/v/venables-jon-photos.htm Childhood Photographs)

Design Notes

• Mismatched clothing, as a result of having to dress himself
• Suppressed confident presence
• Gender ambiguous outfit choices (Nothing too masculine, nothing to feminine)

Minor Project: Frankenstylist Screenplay - Draft Five

This is the latest screenplay draft for Frankenstylist. As a result of feedback from the pitch, the first and third acts have been rewritten to better accommodate the required tonality.

I've also gone into far more detail regarding the 'montage' section of the second act, although this is still fairly rough. My plan for the second act is to establish key actions that I feel must be present, then approach these shots in a number of different ways in pre-vis, playblasting the multiple results and cherry picking the shots I find most suitable. 

I'm going to have to establish a particular makeover/beautifying routine from which to draw reference, so that the actions have somewhat of a logical underpinning, visually obscured or otherwise.

Minor Project: Pitch Presentation 22nd October 2014

Pitch Presentation 22nd October 2014

Pitch Presentation Final

Minor Project: Detailed Shot Breakdown for Act Two

I've been struggling to pre-vis the Act Two, as I didn't really know what I wanted to achieve with each shot. 

To help with this, I've given myself detailed instructions, both visually and audibly, of the key shots and transitions of Act Two. There will be far more cuts made instinctively when it comes to editing, but this way I have a good tonal jumping off point.

As these shots are incredibly close up and require a fair amount of precision, I may illustrate this scene and splice it in with the existing pre-vis footage, both to save a bit of time and to help establish the contrast in tone between acts.

INT. ATTIC - DAY

> FADE IN:

THE ROOM IS INCREDIBLY DARK, CONSIDERING THE TIME OF DAY. THICK, HEAVY CURTAINS BLOCK OUT ANY USEFUL SUNLIGHT, OBSCURING THE APPEARANCE OF THE OBJECTS WITHIN.

ALL THAT CAN BE SEEN AT THIS POINT IS A STREAK OF LIGHT BLEEDING THROUGH THE CRACK UNDER THE DOOR.

CLOSE UP, LOW, of Attic hatch. The hatch begins to raise and open slowly, light bleeding through the crack.

AUDIO - Loud creaking of the hatch, heavy, muffled footsteps

FRANKLIN ASCENDS THE ATTIC STAIRS, SILHOUETTED BY THE LIGHT BELOW.

CUT TO: WIDE SHOT, Franklin’s figure silhouetted by a shaft of light coming from downstairs.

THE HATCH SLAMS SHUT.

WIDE SHOT, CONTINUED, the hatch slams shut, plunging the room back into darkness, Franklin vanishing along with everything else.

AUDIO - Loud slam of the hatch, footsteps moving across the room.

HE CLEARS A SPACE ON HIS DESK AND PLACES THE BOX UNDER A DIM DESK LAMP.

CUT TO: MID SHOT, an anglepoise lamp switches on, revealing Franklin to be leaning over a desk-like surface. Only Franklin, the box and a selected space on the surface are illuminated. The rest of the room remains in darkness.

AUDIO - Heavy light switching on, buzz of electricity passing through the bulb

IT BEGINS TO RAIN OUTSIDE.

AUDIO CUE: Rain begins to pour down, raindrops on the roof and windows amplified by the attic space.

HE BEGINS TO RUMMAGE THROUGH VARIOUS DRAWERS, CABINETS AND BOXES, PULLING OUT MISCELLANEOUS ITEMS, INCLUDING TAPE, BELT STRAPS AND CABLING, AND PLACING THEM ONE AFTER THE OTHER ON THE DESK.

CUT BETWEEN ACTIONS: The opening and closing actions of drawers, cabinets and boxes act as transitions from one shot to another. The camera is positioned within these containers. They open, low light fills the space and Franklin’s hand reaches in, obtaining an obscured object and removing his hand. The containers closing return the space to darkness, the next shot beginning in the same manner, but with a different container.

AUDIO - Drawers/cabinets/boxes opening and closing, muffled from the inside. Hands manipulating miscellaneous objects, stationary, tools, glass bottles etc.

FRANKLIN MANOEUVRES A CHAIR UP TO THE DESK.

CUT TO: CLOSE UP, LOW, casters of a desk chair. They begin to roll and rotate across the wooden floorboards, moving towards the desk. Franklin’s feet can be seen drifting in and out of frame as he manoeuvres the chair.

AUDIO - Casters rattling across uneven surfaces. Muffled shuffling of trainers on floorboards. Creaking wood and rattling, hollow metal.

EXCITEDLY, FRANKLIN TEARS OFF THE PACKAGING TAPE. THE CONTENTS OF THE BOX STILL UNCLEAR TO THE AUDIENCE.

CUT TO: CLOSE UP of the tape on side of the box. The tape is peeled off, from one side of the frame to the other.

AUDIO - Packaging tape being pulled from cardboard, amplified and distorted.

FRANKLIN FISHES OUT A PAIR OF YELLOW RUBBER GLOVES AND PROCEEDS TO PUT THEM ON.

CUT TO: CLOSE UP of Franklin’s wrist. His other hand is seen stretching the glove down his forearm, the glove snapping back when secure.

AUDIO - Rubber being gradually stretched, squeaking and snapping against itself.

HE REMOVES THE CONTENTS OF THE BOX AND TURNS TOWARDS THE CHAIR.

CUT TO: REAR SHOT of Franklin, silhouetted against the window. With his back to the camera, he removes the contents of the box. Turning towards the chair, the camera pans round, with the back of the chair obscuring Franklin and the contents of the box.

AUDIO - Cardboard lid removed, shuffling of trainers on floorboards, creaking of tensile springs in desk chair, muffled cushions of the chair.

FRANKLIN BEGINS TO FASTEN IT IN THE CHAIR, USING THE STRAPS FROM THE DESK.

CLOSE UP: CONTINUED, a strap is stretched around the back of the chair. It is pulled taut against the fabric. CUT TO: CLOSE UP of the strap being tightened, gripping tightly. CUT TO: MACRO SHOT of the Hamster’s fur, the strap running through it and cutting a path between the hairs.

AUDIO - Amplified creaking of strap being stretched, slowly dragging against fabric, foam cushions being compressed, mechanism locking, fabric moving through hair and across skin.

THE CHAIR IS RECLINED, THE HAMSTER NOW FACING THE CEILING.

CUT TO: CLOSE UP of Franklin’s hand, slowly turning a dial for the reclining mechanism. The chair reclines incrementally, similar in pace to that of a drawbridge. CUT TO: POV of the Hamster, facing the ceiling, and gradually reclining. The camera shifts as the Hamster fidgets in the chair.

AUDIO - Clicking of dial being rotated, chair clunking as it reclines, quiet, panicked breathing, hair moving against fabric cushions.

THE LAMP IS POSITIONED ABOVE THE CHAIR, ILLUMINATING THE HAMSTER.

POV: CONTINUED, the anglepoise lamp swings into frame, positioned above the chair, similar to that of a dentist’s operatory lamp.

AUDIO - Creaking of the lamp swing around, sound of blood pumping through ears when bright light is shone in your eyes, when your clamp your eyelids shut tight.

FRANKLIN FASTENS THE HAMSTERS HEAD IN PLACE, USING ANOTHER SMALLER STRAP AND LEANS IN TO LOOK AT THE HAMSTER, THEIR FACES PARALLEL.

CUT TO: CLOSE UP of another strap being fastened, this one somewhat smaller than the other. Again, the strap is pulled taut against the fabric of the chair. CUT TO: a cotton pad upon the head of the Hamster. The strap runs across, tightening against it and holding the Hamster’s head securely in place.

AUDIO - Amplified creaking of strap being stretched, slowly dragging against fabric, foam cushions being compressed, mechanism locking, fabric moving through hair and across skin, water droplets and sweat permeating cotton wool.

FRANKLIN WALKS TO THE OTHER SIDE OF THE ROOM, INTO THE DARKNESS.

CUT TO: CLOSE UP, LOW of the back of Franklin’s shoes. He walks away from the camera into complete darkness, his figuring disappearing completely.

AUDIO - Muffled footsteps, reducing in volume as they cross the room.

THE RUSTLING OF DESPERATE SEARCHING CAN BE HEARD, UNTIL OUT THE SHADOWS APPEARS FRANKLIN, PUSHING A TROLLEY COVERED IN A SHEET.

SHOT CONTINUED: Camera focused in place, out of the darkness comes a trolley. CLOSE UP of a single wheel, rolling towards the camera. It rotates as the trolley is manoeuvred. Evidence of scratching can be seen in the floorboards.

AUDIO - Miscellaneous rummaging, amplified rattling of plastic wheels on uneven floorboards, muffled footsteps.

FRANKLIN MANOEUVRES THE TROLLEY PARALLEL TO THE CHAIR.

SHOT CONTINUED: The wheels of the trolley run parallel to the wheels of the desk chair.

AUDIO - Amplified rattling of plastic wheels on uneven floorboards, muffled footsteps.

HE SWIFTLY REMOVES THE SHEET, THOUGH THE OBJECTS REMAIN OBSCURED BY THE LIGHT AND LOW ANGLE OF THE CAMERA.

CUT TO: CLOSE UP of the sheet, fibres and simple pattern can be seen. The sheet is removed with a flourish, covering the frame and obscuring the camera. CUT TO: the foot of the chair, as the sheet relaxes and falls across the contours of the chair, reaching the ground.

AUDIO - Fabric moving through the air, clothing rubbing against itself, fabric settling across multiple surfaces.

THE OBJECTS UPON THE TROLLEY ARE INSPECTED, UNTIL FRANKLIN DECIDES UPON WHAT AT FIRST GLANCE APPEARS TO BE SOME FORM OF OCULAR SPECULUM.

CUT TO: CLOSE UP of the items on the trolley. Only the handles of various scissors and other objects can be seen, as the camera pans across them. Franklin’s fingers are seen, selectively hovering above the items, until he makes a selection and leaves the frame.

AUDIO - Metal objects, such as cutlery, moving across thin, tinny metal surfaces, quiet breathing, fingernails dragging across metal.

HOLDING THE ITEM, FRANKLIN LEANS IN TOWARDS THE FACE OF THE HAMSTER. THE CAMERA PANS BEHIND THE CHAIR FROM ONE SIDE TO THE OTHER, AS SOUNDS OF DISTRESS AND STRUGGLING CAN BE HEARD.

CUT TO: EXTREME CLOSE UP of the scissor blades parting. CUT TO: EXTREME CLOSE UP of the scissors against indeterminate fur. CUT TO: the items on the trolley with each snip, Franklin’s hand selecting additional items with each transition. The items are seen accumulating filth with each cut.
AUDIO - Amplified scissors cutting hair, flesh, metal objects moving across thin, tinny metal surfaces, transitions between breathing intensity, permeating and evaporating sweat, distress and fidgeting, blades passing past one another.

Minor Project: Adjusting the Story to Suit the Intended Atmosphere

Whilst working on my pre-vis, I began to question how I really wanted to present this story. 

Typically, as I go along, I create very simple, one or two panel storyboards to help dictate key shots in my pre-vis. 

The general pattern in these shots was the use of obscure angles, intense close ups and switched focus as a means of obfuscation, and it was from here I had been deriving the suspense and horror of the second act. 

Originally, the second act was driven by various minor plot points and bumps in the road for Franklin to overcome, however, I've come to the conclusion that this may not be the best way of instilling sensations of dread, disbelief and revulsion in the audience. 

Instead, I've decided to employ alternative cinematic techniques in favour of a more visually appealing and overall more impactful animation.

As a result of this, I've chosen to streamline the second act considerably. I felt that certain aspects, such as the failing electrical device and Franklin returning to the hallway, greatly interrupted the gradual build up of tension and suspense from the scenes leading up to this point. This made the misdirection fairly redundant, and ultimately kills the impact of the reveal in the third act. 

I've chosen instead to eliminate these interruptions and focus on the build up. While these story elements were in no way bad, they do very little to contribute to the intended atmosphere of the story. 

The visual aspects of the animation will tell a far better story than an overabundance of plot.

So, how do I plan to achieve this? Through use of visual misdirection, obfuscation and sensory exploitation. 

Below, I've included some examples of cinematic techniques I've drawn influence from.

Opening Sequence to Se7en

The Death of Marion Crane in Psycho

The Opening Credits of Dexter

Disposing of the Body in Shallow Grave

Eraserhead  Trailer

Minor Project: Franklin Initial Character Development

In this post, I've assembled a sample of the design process for Franklin. Its still very early days, but the design appears to be slowly finding its feet.

The first group of images are simple form and construction sketches. A jumping off point for the rest of the design. I wanted Franklin to be a fairly typical child, with his general composure giving him an outward impression of eeriness. I drifted towards the image on the far right and built it up from there.

I began to quickly tighten up the form, as seen in the profile silhouettes. I wanted the character to be somewhat stylised and streamlined in his general form, without looking to blatantly odd. Ive also assembled some general outfit variations, adhering to the fashion trends of children in working class families of the 1970s, as well as the addition of an oversized apron for the second act.

I've also attempted to refine the design of Franklin's face. I wanted him to look childlike, but not so young as to look cutesy. I've opted for larger, more spaced out eyes in most of the design, although I'm not sure whether contributes or removes some of the implied menace of the character.

My aim for the character is to have him at least semi-realised by the pitch, and whilst its not looking overly spectacular at the moment, I believe it's possible.