Post Summative

Pretty pleased with the result of the summative. I'd been hoping for a 1st this year, but I've resided myself to the fact that it's more likely I'll get a 2:1. And I'm quite happy with that!

I've made some cuts and additions to comply with what the tutors said. Sean suggested cutting the "double gag" with the cymbal sliding away at the end and making its true sound. He also suggested shortening holds. Agree with both of these, as my animatic was considerably longer than the original draft.

Paul's comment was to give the guinea pig a reason for playing the drums. I sat with Jo and worked out a new sequence, where the guinea pig is looking at a poster, longingly. This makes use of a couple of shots that I animated, but needed cutting, and gives potential for a strong title sequence and introduction.

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Turnaround (Bright Eyes...)

The turn around and construction sheet for the guinea pig.

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Animatic V

Jo has helped immensely in cutting down the length of the film. Believe me, it needed cutting down. A 3 and a half minute film for one person to animate is huge. Jo's outside view and honest brutality, plus her eye for continuity, resulted in a minute being cut from the film, a massive help!

This version involves the edit storyboarded previously.

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Storyboard Edit

After a discussion with Sean about the animatic, I have gone with a suggestion of his to change part of the story. After the guinea pig plays the drums and discovers that he can't reach the cymbal, he ties the sticks together to try and reach that way. The suggestion was to show that the cymbal was what the guinea pig desired more than anything. This would be shown using close ups, extreme close ups and jump cuts between the cymbal and the guinea pig:

Guinea pig misses cymbal (after playing drum rhythm.) Guinea pig lowers his arm, and stares at the cymbal. Jump cut to close up of cymbal, swaying gently. Cut back to Guinea pig, eyes wide and wanting. Cut back to cymbal. Cut back to the guinea pig, closer close up shot. Cut back to cymbal. Cut back (again) to extreme close up of the guinea pig. Cut back to the cymbal. Cut to extreme close up of Guinea pig's eye, the cymbal in his pupil. Cut to medium close up of the guinea pig, waving his arms to reach the cymbal. Cut back to medium long shot of guinea pig, still desperately reaching the cymbal, but he is clearly too short. Realising this, the guinea pig slumps down, giving up in despair. Close up of guinea pig, looking sadly at the cymbal. Point of view shot of the cymbal, still wavering gently. Cut to mid shot Guinea pig, sitting back, thinking, and having a brain wave.

I feel this shows a lot more of the guinea pig, and allows for real character.

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Cavy!

Some sketches of guinea pigs (aka. cavy) that I drew reference from. Part of the problem with guinea pigs is that they seemingly have no neck. and are slightly disproportionate. Though I feel a large hind quarter and no neck is quite enduring in a character!

The skeletons and muscle groups are mostly for my own reference, and have helped when I've looked at character design.

These were produced at various points from October to January.

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Concept-ation

Concept work from October to late December. Among these are initial thoughts for posters, design ideas and just some fun with two visually interesting drums, Joey Jordison from Slipknot and Rick Allen from Def Leopard, the latter being admirable for only having one arm.

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