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bentosandbox · 1 year ago

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Lappy fancam animatic blogging/production notes

now that wolfgirlyaoi is out on global its rambling time about my powerpoint presentation

Concept

Originally I wanted to do an (Tex & Lapp) animatic with the boss theme (broken wall/Signore dei Lupi .mp3) ever since the event dropped but I thought 1) by the time I finished anything someone else would have probably already done it first (lol, lmao even) 2) I remembered the song exists and how much i looped it then while listening to the group's new album drop and thought the lyrics fit Lapp a little too well and also doesn't end abruptly like the boss theme + was shorter so yea

initial stickman storyboard where i put down the lyrics with event dialogue/happenings that i felt would fit nicely together > hastily scribble the images that form in my head

storyboards were basically what i wanted to see (same rule as my comics) lol especially if they weren't shown in the event CGs, eg. there's a CG of the truck crashing into the courtroom so I didn't do that but they didn't mention her physical acting in that scene + the song I used has a bow/salute at that exact part in their live choreo with the very similar line so I wanted to do a homage even though-

-I was like it's going to be such a pain to figure out an economical hand twirl and bow but I have to do this I need to transplant the image in my brain onto the screen because official media did not do a—

Honestly still don't know if its a common phrase and action combo because I was having so much trouble finding external references that wasn't just scrubbing the live video over and over anyway

part of the storyboards were 'recycled' from comic drafts I did (of the chocolate scene because ofc) when the event was running on CN

Originally I wanted to draw Lapp feeding Texas for The Girlyaoi Funny but I wanted to reference the plaque you get which is a Creation of Adam reference right but I also saw people saying it's referencing the scene from Silence of the Lambs lol so...peel the layers to your liking!!

(The chocolate flavour choice was from asking my Columbian friends what the worst chocolate flavour they ever tried which was white coconut)

my sorry attempt at colour keys > final spreadsheet to keep track of progress and paste all the dialogue i put in

Art Direction

A bunch of shots/colour schemes are references to Måneskin's stuff or other media tehepero I'll just put a few here

At first I was going to limit red/blue to tex/lapp respectively but since Omertosa is blue I just did away with that rule and lapp gets to have both (and more!) these two colours have pretty obvious emotional readings I think but also

red = self blue = society Siracusa or: red = yaoi & blue = yuri

for the others:

Purple = Alberto/Saluzzo, its not orange like the fruit he keeps holding because see below; I needed the colour for something else LOL Also the Saluzzos are iirc nobility or whatever and they have purple hints in their clothes so I think it was a good fit anyway

Yellow/Orange = Its supposed to be representing the last word in the story which apparently, yostar went with 'Savagery' which is Correct I guess but (laments again about how nuance is lost in localisation because imo savagery has a more derogatory kind of connotation while I think 蛮荒 in context of the story also has a 'nature/untouched by civilisation' side to it) which is why Texas setting the house on fire was not (entirely) red but orange (and it complements the blues both visually and thematically) and it's yellow at the end when they're frolicking(?) in the wilderness lol

(these colour rules don't apply to the penglog shot and technically a few frames like the shot with shocked penance, the one right after and 'im just lappy' because...i forgor my own rules lol)

The greens/teals were just a reference to the shades in the 3DPV I think

The silhouette/general style was inspired from the 3D teaser thing they had at the beginning of the 3.5 anniversary stream and the card suits that I..forgot to move to the other layers which is why only the green one had them (supposed to be 1 per set 💀)

The clash bit is basically the same as the event CG but with a flipped camera/POV sorry for world's worst screenshot lmao. Couldn't imagine the poses in my head so I ended up posing 3d models in CSP pretty good posing practice

These shots got rendered extra because..they were the first frames I started on and I was still figuring out how much to simplify lol

I also posed the chairs shot for some inexplicable reason…my file was lagging so bad

Headcanon part (kind of)

The childhood flashback scene is probably the part I took the most liberties (headcanon) on since it's not explicitly canon like the rest...the sequence/how I connected the scenes itself to fabricate a timeline of her childhood was kind of inspired by some weibo post musing about how (iirc) texas's sweet tooth maybe came from when she was being fostered at casa Saluzzo and Lapp treating her like a pet essentially and giving her a lot of treats since...you know what happened to her actual pet hehe except maybe texas offered her a stick first and then Lappy just reciprocated endlessly because its one of the few 'acts' she knew that wasn't violence haha yeah this section was basically a stealth doujin sorry

It's mentioned that she was brought up as the ideal Siracusan or whatever and she does the cute doodle in the 3DPV so I thought she probably had the Forced Music Lessons as a kid (The music sheets are Bella Ciao and of course)

The bow choreo was the one thing i really wanted to animate but the music sheet segment (based on that one split second shot above) ended up being my favourite part even though compositing the motion was a mini hell on it's own (ended up compiling a long png to scroll by with the red doodles layered over)

Other things

I will never live down my (self-imposed) shame of misspelling the title (I fixed the title on youtube but its why the ending shot in the upload says ZittE e Buoni instead of ZittI e Buoni) don't rush your fancam in 10 days 😔

I didn't look through the entirety of the EN loc but Idk why they had Lappy say 'Then go.' to Texas when it's supposed to be more like 'Let's go.' as in, 'let's go together' as opposed to 'alright off you go to the greyhall alone' lmfao also her saying goodbye forever padre when addio is right there

I don't think I'm insane enough to do another ppt soon but man this pair really makes the 'imagines a whole music video while listening to music' part of my brain go wheee like first it was Starset's Manifest then Signore de Lupi then this and while working on this one i was thinking how Måneskin's Torna A Casa would be another good track

ok ty for reading #GIRLYAOIREAL

#arknights #Il siracusano #bentodraws #bentotexto #I was going to have this post as a reblog but tumblr broke my copypaste so here's a completely separate post #feel free to ask me about anything else i didn't cover in here

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untitled-tmnt-blog · 1 year ago

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I've been working on my very first animatic for the past few weeks, and I'm only about halfway done, so it's going to take a while longer still. Was it wise for me to pick a 3-minute song for my first attempt? Idk, we'll see!

Anyways, here are the first frames I drew for it as a GIF, because I have a truckload of drawings and am itching to post some of them!

I'm also still learning how poses and movements work, so am referencing a ton of screenshots and clips from the show/movie... so if a character's pose looks familiar, it probably is! I'm not denying it -- it's a learning process, and all just for fun! I am figuring out how to do more original ones as I go too, which makes me feel rather accomplished.

(Also, did I mention this animatic is for a fic? I'll wait to say which one until I finish, though! Hopefully my ameteur drawing skills do the author's writing justice!)

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rainbowchewynuggets · 1 year ago

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youtube

IT'S DONE IT'S DONE IT'S DONE IT'S DONE

I've been grinding away at this for months. I can't wait for people to see it. This project turned out to have a lot of gears behind it, so check out the artist statement below!

vvvvvvvvvvvvvvvvvv

I love this song. The first time I heard it, I already began picturing a story where a woman stumbled upon a gathering of birds in the forest and became so enthralled by their song that she partied with them until she became a bird, herself. It turns out that isn’t too far off from the singer, Yma Sumac’s, first experiences learning to sing. She would imitate the animals near her home in the hills of the Andes mountains as a very young kid, developing a vocal range that would make her famous later on.

From there, I fell into a montage of research on her life and the Peruvian festival music that defined her early career, as well as the complicated story of the exotica music she became most known for in the United States. I followed that up with a month-long dive into northwest Peruvian culture, mythology, ornithology, flora, and topographical studies. Then, I blacked out somewhere during the drawing phase, and now I’m here.

While I really value what I’ve learned while doing this project, I think it’s important to note that I did it all as an amateur researcher and a foreigner to the subject. I decided it would be a little conceited to try to make a totally accurate depiction of a traditional Peruvian festival, so I instead focused on referencing the regional variation of these traditions. Costumes and music have their own specific designs and textures depending on the area, and dances and festivities reflect local history. Yet, it all shares the same themes of celebrating prosperity and surviving hardship. Common motifs and characters reflect a shared heritage and cultural identity that coexists with individuality. It’s all just very cool to me.

So I asked myself, what if these birds had their own version of these traditions? What would a bird sing a folk song about? What would be new and cool to Yma, but still familiar enough that she could join in? (I got lucky, since Peruvian festival culture is already very reverent of birds and feather patterns.)

What I ended up with pulled a lot from the Carnaval de Cajamarca, which originated in the next town over from Yma’s childhood home of Ichocán. It also references these dances, among others:

Huaylarsh - Los Emplumados - Marinera - Tondero - White Dance / Los Chunchos

It’s also important to know that I took a lot of creative liberties with my research to pull the story together. I hope I haven’t used any elements in a harmful or insensitive way–and if I have, I’d like to know so that I can apologize. (I also missed out on some cool stuff, like the White Dance always having shaker beads on the legs.) I highly encourage you to have a look at some of the sources I did, and to look further if you’re interested. I found it all very enlightening, and I hope you will too.

Yma’s wikipedia, which seems like a mostly accurate overview based on other sources

Her official website, curated by a fan and friend

A segment on NPR about her musical career

The interview I got the opening from

The ornithology archive that saved my ass

I’d like to work on uploading all the frames as an image reel somewhere so they can be looked at individually. Might take a while, though.

Thanks for watching!

(To those using a screen reader, the video description follows this message. I'd like to apologize for putting the description as the last thing on the post. Not only is it extremely long, but this seemed to be the rare instance where the description would benefit from the context of the post's commentary before being read itself. I wrote and formatted this description in a way that I hoped would apply to aid various disabilities that impede enjoying music videos, and I am very interested in getting feedback.)

DESCRIPTION

[The following is presented as an animatic (a series of still images edited into a video) set to music. The art is drawn with condensed yet fuzzy pastel-like linework and full color. The song used is “Chuncho” by Yma Sumac. The song was composed to imitate the various sounds of tropical birds and animals. It has no lyrics, at least in a traditional sense. I, the describer, have tried my best to translate the especially abstract nature of this song into language that can be interpreted through text. Please use the best of your imagination to fill in the rest. An audio description will always refer to the visual description that follows it.

Audio: A male interviewer asks, “Since you are referred to the bird who became a woman in your native Peru, Ms. Sumac, may we hear your exotic voice?”

Visuals: A title card appears with gold lettering on a black background. It reads one word: Chuncho. The word is depicted as if it were carved into a flat surface with loose individual strokes.

Audio: A woman answers, “I will try to imitate the birds, as I did in my earliest years in the mountains of Peru.”

Visuals: Credits appear, also in gold text: Sung by Yma Sumac (Zoila Augusta Emperatriz Chàvarri del Castillo. Drawn by Carlie Hughes (rainbowchewynuggets).

Audio: The music begins with the steady four-note strumming of a guitar, which will continue throughout the song. Then, it is accompanied by low ragged notes from a heavy woodwind instrument.

Visuals: A green cicada flicks its wings as it rests on a plant with jagged leaves and a little white flower growing from the middle. Beetles of green, red, and yellow crawl around on trees and ferns among puffy yellow blooms. Yellow humpback beetles huddle together on a cold stone surface as mothlike butterflies cling to hanging purple-grey moss in the background. A cluster of butterflies of black, green, blue, orange, purple, and red flare their wings along stems and vines. A line of spiny cocoons hang from a vine leading up the center of the group.

Audio: A vocalist, the same woman as before, begins to sing in vocables. Her first notes are short, round, and bubbly, like the chirping of a small bird. The lilt of a flute follows.

(“B-bm, bui-bui-buiii…”)

Visuals: A small village sits on the side of a forested and scrub-covered mountain at night. Buildings twinkle with yellow and blue window light through the darkness. At the edge of the forest, a tall lean woman appears with warm orange skin, long black hair, a simple green dress cinched at the waist with blue trim on the neck, hem, wrist, and waist, and a powder blue shawl tied at the chest. She sneaks away from the village into the temperate tropical forest, glancing back to make sure hasn’t been followed. She grows more at ease as she leaves the buildings behind and strides between bushes, deeper into the trees. She passes a flowering plant with orange petals. Its bulbs are held aloft on long, long stems.

Audio: The vocalist sings in elongated threads of notes, wavering in a minor key in a mischievous way.

(“Whu, hu-uuuu…”)

Visuals: The woman grazes her fingers along a bush with little black berries and white spiky flowers. Her hand passes up and down with the shape of the bush, like the rise and fall of an ocean wave. She walks uphill, past pink clover and increasingly frequent stones.

Audio: The vocalist clicks and rolls her tongue with her notes, like drops of water splashing across stones.

(“Dlu, dlu-dlu-dlu-dlu-buiii…”)

Visuals: A voice suddenly gets her attention. The voice passes by as a green line with wide wave forms. The woman follows it. She passes through a stone forest–dense moss-covered rock formations that reach up toward the sky. The ground below is streaked with snake trails. The line of song is now yellow. It leads her forward along a trail through the rocks. She climbs a more precarious formation of boulders, through dense shrubbery and a dramatic rocky landscape. As the voice shifts redder, her colors shift pinker. Even the environment’s colors are shifting to pinks and blues. She climbs a hill, past tall spindly trees and a nearly vertical mountainside. The pink line of song leads her still upward.

Audio: The vocalist belts out the deep throaty call of a tropical bird trying to be heard far and wide. The notes increase in frequency, then widen into a whoop that softens to a murmur. The flute follows her with a few short forceful notes.

(“Ah, bya bya bya-bya-bya-bya-bya-byaaa, whoa-whoa-whoa-whoa-wi, wa-wa-wa wiii…”)

Visuals: When the woman reaches the top of the hill, a light shines up at her from the other side, returning her original colors. Below, she sees a gathering of human-sized bird people celebrating on a leafy platform. They’re dancing in different sized circles around a tree at the center. Rainbow colored ribbons of different lengths have been tied to the branches of the tree and hang down to form the silhouette of a condor. More ribbons and colorful bulbs hang from the leaves above. The line of song (now light blue) travels in a circle around the tree trunk. The camera zooms in, revealing details of the birds and their costumes. The birds are pigeons, hawks, cuckoos, seedbirds, and corvids. They’re all dressed in colorful hats, vests, slacks, and dresses with patterns that reflect those of their feathers. A circle of spotted woodpeckers closest to the trunk wear purple gowns and party hats. The party’s singing expands the blue circle of light. A wider circle of yellow, green, and white birds sit and watch the celebration from the edges of the platform. As a line of bright manakin birds zip by with their hands clasped together, the woman approaches from a nearby branch. She’s enticed by the party and joins the dance, clasping hands with a green parrot and leading the line with a broad smile on her face.

Audio: The vocalist makes a quick sudden series of escalating notes, then makes a hard sound with her teeth and returns to a low whoop. The flute echoes her.

(Ba-bana-baba-cht!, waw waw waw waw waw waw waw wiii…”)

Visuals: The birds switch to individual dances. A short red woodpecker and a tan long-necked bird with ribbons in her hair dance and sing together, their lines of song intertwining. The woman and three pigeons in red and black dresses stomp their heels in a quartet dance. She follows their steps flawlessly, familiar with the type of dance. When they begin to sing and whistle, she joins them–though her voice isn’t as strong as theirs and her line of song is thin and brittle.

Audio: The vocalist makes a low growl, at first imperceptible, that grows to a steady rumble. The flute follows.

(“Rhhh…, rhh, rhh rhhh…”)

Visuals: Then, the lights darken and redden. The woman stops to notice all the other birds heading to the back of the platform. They climb and flutter up to sit in fruit-bearing branches that grow just beyond. The woman finds herself a spot and picks a piece of fruit to eat. She takes a bite as a show begins. A band of various birds wearing ponchos and cloth hats sit down by the show platform. They play their instruments (flute, guitars and a drum) and count in the performance.

Audio: The vocalist makes more short bubbly chirps. They grow higher in small strings of notes until the phrase ends with a low long note.

(“Bom-bom, t-bom-bom-bom, mbom-bom wiii…”)

Visuals: Five owls appear, bathed in magenta spotlight before the center tree trunk. All of them have their yellow-spotted wings wrapped to mostly cover their black and gold-trimmed dresses. The four owls on the sides are short and red, while the one in the center is tall and bright purple. As all five begin to sing a golden song, they operatically open their wings and extend their feathers. As the light darkens to violet, the black and gold patterns in the folds of their wings leap out as if exposed to blacklight. They extend their arms upward and then double over to kneel on the stage, fully splaying their wings in a dramatic display. The woman watching is transfixed.

Audio: The vocalist rolls a noise from the back of her throat. Once, twice, three times–before hitching the roll up and down and letting it trail off. The flute makes a low hollow arc of a note.

(“Ghhh, ghhh, ghh gh-gh-gheee…”)

Visuals: Cut to the next performance. Two teams of blackbirds with long waving feathers compete, standing on each other’s shoulders to form two pyramids. The one at the top of each team lunges forward to try to strike the other with a long stick, propelled by their team. Their feathers glow with yellow light from above. The team on the left—with orange vests and red sashes—strikes first, only nearly missing. They gloat as the lime vest and green sash team on the right recoils and protests. Then, it’s the green team’s turn to take a confident lunge, forcing the red to frantically pull back in time to dodge. On the next strike, the red team buries the stick in the top of the enemy pyramid (actually tucked under the green leader’s arm). The victim feigns a mortal wound, and the entire team flies away. The red team poses, victorious. The red leader gets down to the floor to greet the widow of the green team, wearing a green dress. She peers at him from behind a silky black wing. As soon as he lands, she whacks him over the head with her own concealed stick. He is surprised. She is unamused.

Audio: The vocalist lets out a ghostly wail that wavers wildly like an eerie wind, higher and higher. A shaker instrument rumbles beneath her voice.

(“Woaaa… woaaa… woaa–”)

Visuals: Next, it’s dark. Three colorful birds in masks and costumes tread the air at an angle on the left side of the screen against a blue and green background. There’s a yellow spiky one, representing lightning. A blue round-feathered one, representing rain. And a spade-feathered green one, representing trees. Long beaded threads tied to their wings and tails wave and tangle across the screen as a group of five hummingbirds in shades of red struggle to survive the “storm” raging around them. The colored ribbons of the central tree are muted and flutter with the power of the wind. Two other birds hug the trunk, nearly out of sight. There’s a prop on the floor to the right made to look like a stone alcove, where more hummingbirds are hiding. The storm bringer birds beat their wings hard, casting the strings of lightning, water, and leaf shaped beads in huge chaotic waves. The five hummingbirds in vests and dresses wince and tumble against the wind, flying together in a tight circle. The threads crisscross behind them, an overwhelming force on the tiny birds’ scale. A red line of song floats up to reach them, guiding them down to the nest.

Audio: When her wail is at its highest, the vocalist pushes it further into the voice of a shrill songbird. The note hangs high in the air, then takes a few steps down and up. The segment ends with the sudden interjection of the low round voice–as if in surprise–and a trailing mumble.

(“Haaa, aa-aa aa-aa aa-aa, hoa? Ah, bw-huh…”)

Visuals: Those in the stone nest finish singing and reunite with the others, pulling them down to safety. A blackbird hiding behind the trunk spreads its wings, sitting on the shoulders of a brown woodpecker. The blackbird’s vest and wingspan are covered in yellow, signaling the coming of daylight. The storm birds retreat and sit still on a nearby branch. The wind is suddenly gone.

Audio: The guitar plays alone.

Visuals: After the stage performances, the audience members move back to the platform. They’re gathered off to the far left side of the central tree trunk, standing in a circle around a single figure. The light of the gathering area is deep plum-purple in far off areas and warm dull pink over the crowd. The empty space around the single dancer is salmon red, and the figure herself is blue.

Audio: The vocalist perfectly mimics the sound of a flutter, of delicate waving in the wind.

(“W-w-w-w-w-w-w”)

Visuals: The camera zooms in on her hand as it flits a pink handkerchief in the air.

Audio: The vocalist belts a pair of bold staunch vocables. The second note is held for several seconds before fading out.

(“Kyen, kyen…”)

Visuals: The camera pulls back to reveal the rest of her. She’s a blue eagle with wings that grade from red at the arms to pink to blue at the wingtips in a wavy pattern. Her smiling beak is bright pink. Her dress is royal blue with reddish-pink trimmed ruffles on the hem of the skirt, waist frill, neck frill, and the flower decoration on the side of her head. She stands with the hem of her dress in one hand and the handkerchief extended in the other in an open invitation to dance. A pale pink spotlight frames her head and shoulders against the darkness, and a dark pink line of song passes behind her. Her partner, an eagle of the same coloration with a blue vest and pants, pink shirt, pale orange sash, a blue hat in one hand, and a pink hanky of his own raised in the other, is calling to her. He puts his hands behind his back and takes high steps toward her. When the two are close, they turn and walk parallel to each other in a slow circle. The male’s back is to his partner. He looks at her over his shoulder with a smile and abruptly splays his feathers to be cute. There’s a layer of pink under his outer coat. She grins, entertained.

Audio: The vocalist repeats the two vocables, twisting the end of the second up into a high wavering trill that eventually soothes and disappears.

(“Kyen, kye–eee, ee, eee, ee…”)

Visuals: The two turn to face each other, circling tighter and tighter in unified song until they’re face to face, looking deep into each other’s eyes. With another turn, they’ve passed by each other and out of sight.

Audio: The vocalist makes a whisper, a ghost of the two vocables. Then, a few quick whistles, barely loud enough to hear.

(“Hyo, hyo”)

Visuals: The woman, who has been captivated by the dance, suddenly notices that the crowd has dispersed around her. Partners are walking off in all directions, leaving her alone. The dance is over.

Audio: The guitar picks up, getting faster and louder for a bit.

Visuals: The woman walks alone in the blue night air along a tangle of tree branches that form a pathway. She walks with her hands behind her back, her face looking preoccupied and a little disappointed. Bushels of soft leaves pass by in the background.

Audio: A high, light pleasant note from the vocalist overtakes the guitar. It grows until it fills the soundscape.

(“Aaa…”)

Visuals: An orange song reaches her from the direction she came, and she stops. When she turns, she sees a blue swift standing on the branch path, far behind her in an opening in the trees. The underside of his feathers is dingy orange, and he’s wearing a black vest, white pants, a rusty red sash around his waist, a bright green kerchief around his neck, and an orange rectangular accessory tied around his neck like a necklace. His face is obscured by a white hat with an orange band. He bows low with a hand on the hat. The hat comes off, revealing inviting eyes and a smiling orange beak. The woman grins and accepts the invitation with determination.

Audio: The vocalist draws long high vocables that resemble a wail. They trail off with a low note.

(“Whoa whoaaa…”)

Visuals: She and the swift untie the fabric around their necks and step toward each other as the line of song forms a ring above them. The woman holds the ends of the shawl in her hands and her hands at her hips with the body of the shawl hanging behind her waist. The bird holds his kerchief out in one hand with the hat in the other, held behind his back. He takes measured winding steps along the branches. The woman mirrors his steps, then pushes off of the main path and lands on an outcropping branch.

Audio: The vocalist’s song wavers back up and demurely bobs up and down, intertwined with tweeting from the flute.

(“Hoa… ohee…”)

Visuals: Her voice, seafoam green and a little stronger than before, trails behind her. She darts back onto the main branch and ducks behind the bird, then circles around to face him, the two only a few feet apart. They exchange steps pushing the other forward and back and flicking their garments in time with their movements. The woman’s voice grows stronger, nearly matching his. The bird quickly catches up as she moves backward, dancing beside her. The two dancers then leap from the main branch and fall down into the rocky forest below, passing by grassy plateaus and vines creeping through stone. Their song follows all the way down. They leap across boulders in the moonlight, side by side. The swift suddenly stops and folds his kerchief around the center of the shawl, hitching the two together.

Audio: The vocalist belts a complex series of syllables that mimic the heavy majestic cawing of a large bird or hawk. The flute makes itself known a little as the voice fades out.

(“Hlau-lau-lau hau-au-wau-wa-wiii…”)

Visuals: The woman, at the receiving end of the momentum, is swung wide and lets out a vibrant complex line of song that could match any bird’s. The two pull closer to each other and end their song on a low steady note. Then, they bow to each other as the camera pulls back. They’re standing on a rock that rises above a basin of water among huge formations of rock. Pairs of birds dance all around them in the shallows.

Audio: The guitar takes over for a bit.

Visuals: The camera cuts to an upward view of a varied group of birds sitting in branches, staring downward with interest. The light from the moon coming down through a break in the trees above is now cool green. The light coming up from where the birds are looking is orange-red.

Audio: The vocalist lets out the aggressive growling of a cat.

(“U-wau, wau-wau-wau-wau”)

Visuals: Below, the woman is dancing in a line with three reddish woodpeckers in a greenish clearing in the trees. They wear intricately detailed dresses in different combinations of bright green, yellow, red, and black with geometric and floral embroidery. The dresses are cinched at the waist with a piece of fabric covered in colored bands. Their heads are covered in scarves with the same colors and patterns. They sing and step aggressively toward the left of the screen. At the other side of the clearing, a line of four red and white faced woodpeckers with green beaks and wings face right. They wear bright green hats, kerchiefs, and sashes, yellow and black striped vests, and dark red pants with yellow tassels at the ankles. Their black shoes tap against the ground as they make quick little dance steps and flutter yellow handkerchiefs. They hold onto the brims of their hats and then lean down with a flourish of their arms, exposing the red crests of their heads sticking up underneath. The dance then changes formation. The girls dance in a line to the left as the boys step in a line to the right.

Audio: The growl hushes down to a wavering whisper, like wings beating in the dark.

(“Tchwahh-cwah-cwah-cwah-cwah-cwah-cwah-cwah…”)

Visuals: Out on a cliff by a waterfall, the scene is bathed in cyan. The line of dancers–alternating male, female, male, female–do a hopping dance from partners on the left to those on the right and back again as they move along the cliff, passing behind the waterfall as it disappears into the greenery in the foreground.

Audio: The guitar asserts itself again.

Visuals: Everything is suddenly red. A guitarist in a blue poncho and a red neck sash frets the neck of a guitar with a brown feathered hand. Rainbow ribbons are tied to the headstock. A deep orange song emanates from the strings.

Audio: The vocalist quickly accompanies the guitar with a harmonized version of the growl that revs up climatically, taking steps up the scale until it’s at its absolute height.

(“U-wa-wa ee-ee eh-oh! Oh-oh-oh-ohh!”)

Visuals: A congress of the partygoing birds stand in lines facing each other, all wearing blue outfits with red kerchiefs with rainbow tassels on them. The group jumps up and down in unison as part of a dance. The party breaks into smaller dances, and the woman dances by herself. She’s wearing a green skirt and flowy purple top with red underskirt, waist cinch, and scarf. Rainbow tassels are attached to the overskirt, and they swish with her movements. Beside her are a hawk woman and a pair of long billed bird men dancing in a circle with their ankles locked. A pair of red birds with white streaks on their wings suddenly hoist the woman into the air, as other birds are hoisted in the distance. As she’s held aloft, she sings and spreads her arms, revealing more tassels on her top, resembling wings. Her song is immense and beautiful. The camera focuses on one of the hoisted birds in the background, who has executed a handstand with the person who threw them. The blackbird’s feathers are all sorts of bright colors. The song passes by behind him. The excitement of the party disguises the presence of a looming pair of yellow slitted eyes peering out from a dark spot between the leaves nearby. A trio of purple pigeons dancing in a line with twigs and colored strings in their hands dip and weave together. The one in front balks, noticing the threat at last.

Audio: The high energy of the music suddenly cuts out. The shrill call of a small bird climbs up out of the silence.

(“Eee…”)

Visuals: A striped short legged pampas cat pounces into the center of the dance field. It misses the birds, but the illusion is shattered. The bird people are just birds again. They fly in a frenzy up through the trees to the safety of the early morning sky. The hilltop erupts with silhouettes of wings.

Audio: When the small bird’s call is at its highest, it tumbles back down and transforms into a low disquieting wail. The guitar re-enters.

(“Ee-ee-ee-ah-ahh ahh oohhh…”)

Visuals: The pampas cat has retreated into the dim tawny forest. It stands on a bent tree branch among bushes and hanging moss and stares into the camera with glowing yellow pupils. A tiny rodent scurries by and into a bush. The cat notices and darts after it. Nearby, dozens of bats hang from the underside of a rock formation that extends over a field of berry bushes. Their sleepy heads are tucked into their folded wings. A straggler flaps up to join the rest as the sun continues to rise. Elsewhere, a hive with wasp-like insects resting on the outside hangs over a rock. Sunlight gleams over the scene from a break in the trees in the background. A large brown mouse climbs up on the rock, backlit by the sun. It grabs a wasp in its teeth and leaves before the rest of the hive can wake up.

Audio: The vocalist makes a low steady murmur. A couple shakes from the shaker instrument follow.

(“Hoo…”)

Visuals: A colony of green and brown frogs with purple eye ridges, yellow faces, and orange bellies are asleep on dewy ridges of rock. A green cicada hangs out on a leaf off to the top left corner. The mouse jumps down through their resting spot, waking them all up. The frogs croak a green song as the cicada hangs on for dear life on the swinging leaf. The wind moans through the crevices of another stone forest. The little flowering shrubs that grow on the rocks bristle in the breeze. A variety of green, yellow, and blue lizards poke their heads out of the rocks, into the morning light.

Audio: The vocalist repeats the murmur. The flute follows this time.

(“Hoo…”)

Visuals: The camera pulls back to view the entire rock formation. The still rising sun shines only on the top half of right-facing stones. Long spindly tree trunks grow from the top left, out of sight. Long grass waves on the ground below. An alpaca-like vicuña raises its head from the long grass, facing the light. In the branches of the trees above, various birds perch facing left.

Audio: The vocalist makes a mysterious sound that begins as a harsh sound between her teeth and ends as a whisper. It echoes in the background.

(“Chwah-ah…”)

Visuals: The camera turns back to the village. Golden light casts diagonally across the brown roofs and tan buildings. The silhouette of a small bird flies toward the center of town.

Audio: The vocalist makes the sound again, then pulls the whisper up into a harsh repeated rasp from the back of her throat.

(“Chwah-ah qwah-qw-qw-qw-qw-qwah-qwah-qwah”)

Visuals: Down in between the one-story houses, the bird flutters down. Long shadows lay across a passage leading toward a door on the side of a building. We see the shadow of the woman land in the soft dirt path where the bird’s would have. She heads toward the door at a walking pace.

Audio: The call returns to a whisper. The vocalist clicks her throat in a short series of hollow sounds, nearly like the creaking of wood.

(“Qwk-qwk-qwk-qwk-qwk, qwk qwk qwk qwk”)

Visuals: As she opens the door to enter the purple interior light of the house, we see that she’s back in her green dress, but now her shawl is red. The sun glints in her hair. Before she goes inside, she looks back and winks at the camera with a smile. Then, she slowly pulls the door behind her until it’s shut.

Audio: The vocalist lets out her breath entirely as the accompanying music trickles into silence.

(“Haaa…”)

Visuals: The screen is black for a few seconds.

Audio: The high whistling call of a green manakin can be heard over the rustling of forest trees. The call’s tone is raised at the end, like it’s asking a question.

(“Twee?… Twee?… Twee?… Twee?”)

Visuals: The end card appears. Yellow and green lettering and a border lay on a black background. The text reads: Yma Sumac. Peruvian soprano and composer. October 13th 1922 until November 1st 2008. Biographical and reference info in description. Chuncho, 1953. Written by Moises Vivanco. Capitol Records, Universal Music Publishing Group. Carlie Hughes. Tumblr @rainbowchewynuggets. www.carliehughes.com. End ID]

INDEX

#chuncho song #animatic #chuncho animatic #night festival animatic #the night festival #yma sumac #the birds #the forest creatures #this was supposed to go up on her birthday but i got sick aaa #Youtube

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arthuluart · 3 months ago

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Hiii - wanted to say first thing first I love your art style, it's so dynamic and fun and those color palettes? Stunning ^^

And second thing second, just some food for thought if you ever want to get angsty about Jerry and Dean, coffee by Chappell Roan sounds like it was written about their break up specifically and I can't stop thinking abt it dndnden

*Cue me losing my mind*

Hiii- they say flattery gets you everywhere and turns out with me, it gets you animatics- jkjk but I do appreciate the kind comments ^^

I’ll put up the animatic separately and take the opportunity to leave the preamble here to keep the video post neat bc until someone tells me to shut up and just post art- I’m gonna ramble… So here’s the commentary you didn’t ask for along with my favourite panels:

First off- You turned me into a big time Chappell Roan listener which is great bc I need music recs to fix my listening habits before Spotify wrapped drops. My roundup last year was shameful… Red Wine Supernova is my new dish washing song.

Even tho it’s not the song’s vibe I kept the content as silly as I could for my own sanity. I don’t love getting too deep into the serious/sad side of M+L for a few reasons but I do find it all very interesting. Point being this song was too good to pass up doing something a bit bigger for.

Ngl tho- this did have me pulling out hair at multiple points. I never colour animatics, rarely even tone them- but you mentioned colour palettes and I was determined to deliver so pardon the messy colouring but (that was the tradeoff) I did not have it in me to stay in the lines. I’m choosing to be kind to myself and opt to call it an artistic choice and not midway burnout. And nothing was gonna get me to open after effects/premiere not even the janky ass golf ball OML this only makes sense if u watch the video.

There are parts of this I’m SO happy with and others I hate. I think it’s really obvious which sections I started losing steam on but overall I lowkey like the end product. Nothing I make will ever be good/perfect- this was one hell of a practice in accepting that lmao- but I can still be ok with the work problems and all yknow? I very nearly shelved this completely bc I got so worked up about the maybe 5 panels I dislike out of 106 total. Counting them was eye opening to ask myself: you’re gonna let that small a ratio stop you from sharing this after putting in days and days of effort? The insecurity goes deep and TBH getting asks has been a nice way of working through it since I post the art I make for answers no matter what only bc I KNOW someone out there wants to see it. It might not sound it but it’s actually quite positive.

Also, although I feel I’ve done my fair share of reading, I’m no expert. So if anything is really off point- sorry my bad (I won’t fix it tho bc I cannot physically stand to look at this another second lol)

I tried to stick to real things found in articles/books/photos/interviews etc bc outside of obviously fictional AUs I’m not super into making stuff up about them (and who needs to I mean the legit stuff is already insane enough) Sure I framed the events in specific ways to suit the song and some aspects are fictionalized (mainly bc the referenced written accounts lacked detail to draw 100% faithfully from anyhow) but otherwise I got my sources cited.

ANYWAYS… sorry for hijacking this answer I need to learn to chill out. Irl I’m a pretty reserved talker so you can tell I’m in a comfy place when I let loose and blather on endlessly lmao brevity is not a skill I possess.

You were probably expecting illustrations or smth but I hope what I came up with is still somewhat alright AND please don’t let my complaining fool you, I genuinely loved making this.

One FINAL Relevant Note: the line “nowhere else is safe every place leads back to your place” is gut wrenching. You’re so right about this song perfectly describing the break up. They always came back to each other and there’s something so devastating about that kind of haunting human connection.

OkAY I’m done promise- I thought I’d implode if I didn’t get all that out

#martin and lewis #ask

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wannabe-cartoonist-blog · 1 year ago

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Some stills from my newest Hetalia animatic "Defying Gravity".

I went off a bit here, so check explanations/historical references below cut.

1: An alternate version of the empires America looks up to. Most of it gets covered up in the animatic (and they don't have eyeballs) but I ended up really liking this drawing so I wanted to post the full version of it here. Fun fact: I simply named this image file "men". They sure are.

2: Loved making the little England and America portrait and coloring to make it look more like a painting. I imagine England's pretty sentimental and has lots of portraits and sketches of his kids/important people (see point 4). I also enjoyed showing America's conflict here. Alfred will always have a certain fondness and desire for respect from his father, but at the same time, fuck that guy! "I'm gonna be my own person and not a crown jewel in your empire. It's not a phase, dad!"

3: There's too many Canada and America scenes for me to highlight, but I think that though they have their issues as Canada and America, Matthew and Alfred are still ultimately brothers and care about each other. Also, peep those flowers in the back. Wonder what that's referencing...

4: England's office over in the Colonies. Even though he's not here much, I imagine its quite eclectic. Colonial America probably liked to break in from time to time too to look at all the stuff England's horded/pillaged gathered over the years from around the world, despite England locking it when he's away. The portraits get covered up in the video, so I thought I'd give a more detailed look here. Obviously, the portraits are sorta abstract, but I did have certain people in mind when drawing them! Blue portrait: Charles the 2nd famous for the the Restoration (cue King of Bling from Horrible Histories). Green portrait: a vague King Arthur. Orange: Henry the 8th and one of his wives, probably. Purple: Queen Anne. Framed on desk: a baby America circa Jamestown (left) and a young Canada (right) circa 1763 (Treaty of Paris, when England officially acquired Canada from France).

Bonus: When you gotta tell your boss/national personification his son just stole a horse and ran off. British guards One and Two earned a special place in my heart when I drew them in the background like this in one frame. They done fucked up.

#historical hetalia #hetalia #hetalia animation #hws america #hws england #hws canada #hws france #hws spain #wannabeartw0w

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cemetery-irises · 7 months ago

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Also giving you a bunch of animatics while I wait for you to come back

1 (VALE (the fandom one not ours rgajsh))

2 (Victor (here's the lyrics so you get a better idea of what's happening))

3 (Frederick (more lyrics))

KAIRIKI BEAR MENTIONED GRAHH I LOVE HIM HES MY FAVORITE PRODUCEF ALSO BUG FREDERICK SO TRUE SO REAL MRHRFHJFN also if i'm remembering corrextly, the non animated frames are heavily referenced from the original music video :3

ubrelated but i keep forgetting the e in vale is for edgar and. not emil sob

#ouhhh bug kreiburg bug kreiburg bug kreiburg #the talk box

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mechanicalowls · 6 months ago

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Want Me To

a terrornoss fic inspired by my possibly in michigan animatic

chapter 3 - dreaming of bruises

warnings: referenced past violence (as in what happened last chapter via shadow man evan)

rating: t (heads up next chapter will be m)

chapter below cut:

When he awoke, Brian was in his car. The mall stood over him, casting a foreboding shadow over the entire parking lot in the twilight sky.

Go home, Brian. A familiar voice croaked in his head. He hesitated. He didn't know why, but he felt compelled to go back in. This was a different compulsion than that of the shadow man, though. Something else beckoned him back within the ancient concrete structure.

Was it because he was here so much later than he normally was? Was the building itself alive and calling out to him?

Get out of my parking lot, Brian. Go home, come back tomorrow. Nothing good comes from being here at night.

Brian stayed frozen in place, hands white knuckling the steering wheel. The mall called to him again, begging him to come back, to continue his wandering. He'd never felt anything like this before, not even when the shadow man called to him.

GET THE FUCK OUT OF HERE, BRIAN. LISTEN TO ME DAMMIT, NOT THIS PLACE. GO HOME NOW, AND COME BACK TOMORROW.

Brian startled at the booming voice, louder than that of the mall. With one final look at the welcome sign, Brian dipped out of the parking lot, like the shadow man commanded.

He sped home in a daze, barely able to obey traffic laws. When he finally reached his apartment complex without taking out a stop sign or pedestrian, he wheezed. He tiptoed up the stairs, minding the creaky floor boards as he passed every door leading up to his own. He shakily fiddled with his keys, breathing heavily through his mouth, like he had just run a marathon.

Once he was inside, he locked the door in a hurry, pressing his back to it and clinging to the worn wood like his life depended on it. He finally managed to take in slow, deep breaths and pace into the bathroom. His skin felt cold, his face was splotchy, the dark circles under his eyes taking up the main focus.

He tore his sweatshirt off, staring in horror at his flesh. Dark fingerprints circled his neck and shoulders, like an ornate necklace. They didn't smudge or lift off when he scrubbed at them with his palms, but they didn't hurt either. The same couldn't be said for his chest.

A boot print, right square in the center of his chest, where the shadow man had stomped on him. It was a nasty mix of bruising purple and inky black. When Brian ran his calloused fingers over it, a violent chill rushed over his body, and his chest erupted in pain. He turned in the mirror to look over his back, where the shadow man's talons had dug in when he mentioned the others. Sure enough, black fingerprints dotted along his shoulder blades, and sent the same frigid ache through his veins when he ran his fingers over them.

Brian choked.

Unlike those dreams of the shadow man and the mall, this was real. This was tangible proof that he wasn't hallucinating anything. The mall was real, and the shadow man was all too real.

He was real.

And he had hurt him.

He needed a shower.

And so he did.

Despite the water being cranked up to boiling temperature, the water hitting his bruises constantly sent icy chills through his being. He shivered at that, giving up, and hastily rinsing the suds from his hair. He wasted no time drying off and speeding to his bedroom. He pulled a sweatshirt over his aching frame, and a pair of boxers on his lower half.

Brian fell back onto his bed, grunting at the chill that coursed through him. He was out in an instant, for once wishing to see the shadow man. He needed a safe way to grill him. He needed to know what the hell was happening to him.

~~~

If you're expecting an apology, then I have some bad news for you.

Brian scoffed, standing a bit away from the shadow man, who had his back to him.

“I just want answers.”

The shadow man tutted.

You're so demanding. I spare your life and save your life all in one day and you come back demanding more from me? That doesn't seem fair.

Brian bristled, furrowing his brow.

“Exactly that! What d'you mean “saved my life”? Ya kicked me out of here!” Brian spat, balling his hands into fists. The shadow man snickered.

I told you. No good comes from being here at night.

“What the hell does that mean?”

C'mon Bri, you're a big boy. Use your context clues and figure it out yourself.

Brian huffed.

“Fine, whatever. Ya said there were others. What others?”

He couldn't see it, but he was sure the shadow man was smirking.

I don't want to think you're stupid, Brian, but your lack of ability to read the room is making me think otherwise.

“Ok fine! There were other people that came here and explored like me! I got that! What happened to them is what ‘m askin’!” Brian snarled at the shadow man's vagueness.

I told you. They left me. They didn't listen to me.

The shadow man repeated. Brian huffed.

“Left how?”

You think I killed them?

“You haven't given me a reason to think otherwise.”

A low growl echoed through the corridor.

I didn’t. The mall did. You heard it calling to you before, right? Called to them too. This fucking place is cursed. It draws people in just to trap them forever.

Brian was taken aback by this. All the anger leaped off of him like bloated tics. He raised a brow.

I don't know.

“Then why am I still alive? If yer not lyin’ to me, then why hasn't the mall killed me yet?” Brian pressed. The shadow man was silent for a second, pondering his question.

“What?” Brian squawked.

I DON'T KNOW. When the mall calls out to people, they're already dead. There's no way to escape it. You always heed it's call, and it always claims another soul. It called to you, but you didn't heed it.

Brian gulped, remembering the silent pleas of the building, coiling around his bones like a serpent.

You listened to me. I didn’t kick you out, Brian. I saved your fucking life. I don't know how, but you listened to me. You heard me over this godforsaken mall, and you listened to me.

“I’ve been coming here for months, why is it just now tryin' to get me?” Brian pressed, his bravado faltering at the revelation. The shadow man crossed his arms.

I told you. No good comes from being here at night.

Brian nodded, understanding at least a little bit.

Is that all? Do you want to wake up now?

Brian looked up, and suddenly his hands felt clammy. His face was hot, he was shaking. Tears he didn't even know he had welled up.

“Why did you hurt me?” He sputtered. It was a dumb question, he knew the shadow man was prone to violence. If he attempted to harm him in his dreams, of course he would in real life too.

What are you-

The shadow man cut himself off as he finally turned to look at him. Looking down at himself, Brian found his sweatshirt gone, leaving his bruised and stained chest on display. He blinked, and the inky black figure was in his face in an instant. He slid his wispy fingers over the bruise on his chest, tracing the outline of his boot.

Strangely enough, when the cold washed over him from the bruise being touched, he didn't shiver. He didn't even flinch. The dark hand pressed against the bruise, pushing deep into his flesh. Brian yelped at the pressure.

I hurt you.

The shadow man muttered, ethereal eyes glued to Brian’s purplish flesh. Brian blinked away the tears, standing completely still. He hummed.

I hurt you.

“Why?” He mumbled, raising his palm to grasp the shadowy claw resting on his chest.

You want me to.

Brian swallowed harshly.

“I- no, I don't want- no…” Brian whispered, unsure of what he was implying, and unsure of his own answer.

The shadow man looked up at him, a strange look crossing his eyes. He growled lowly, and dug his talons into the bruise; Brian threw his head back in agony at the sparks of pain exploding in his chest.

Come back tomorrow.

And the mall faded into nothingness around him.

~~~

#there we go #mechanicalowls #terrornoss #vanoriser #terroriser #vanossgaming #fanfic

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beltransadie · 2 years ago

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youtube

I ended up finishing another one (but it's pretty short). Admittedly it's just a side project I thought of during Christmas break, and I only ended up including what I initially planned. (Which is only up to the first verse).

Admittedly, this isn't the one I started right after I Won't Say I'm In Love, but more so something on the side that snowballed into a finished state (because I needed a break from the angst).

It's not the whole song, so there's not much art to add as preface. Here are the only fully colored frames in it.

And a sleepy Wanning.

Considering the references, the animatic covers up til chapter 80ish but it's not really spoilery anyway. I talk gush about stuff below. (I talk about what I referenced in here so if you don't wants spoilers for the animatic you should go check it out >.>)

"Can't count the years on one hand that we've been together."

That's literally it. That's what started the idea. That alongside the song's snappy beat made me think of 1.0 and how the way he just "hates" Wanning whilst looking out and seeking his attention.

So, to put it in a way, the animatic is more like: I hate you, but I'm still into you. (Even considering his past with the person)

Also this storyboard is just funny, him being confused while counting out how long they've been together. (I guess that's a spoiler in a way, gahah).

In the actual finished piece, the title is included in the background as if it's a part of the set piece which I find absolutely silly and decided to go for it. Just watching that sequence taken seriously is... gets me every time lmaoo.

----

The transitions

I want to talk about the transitions for a bit, it was in the storyboards alongside (what I'd like to call) the funny turn around coz it's literally a spinning shot of ranwan I considered to be kind of daunting coz those shots are hard.

(Look I know height diff in the storyboard, but I googled a bit and I found out that 1.0 and CWN are almost the same height)

Also those full body pics ended up being used a lot in that sequence, pretty neat though considering back views are hard.

The animation in the middle ended up being a video I greenscreened because my video editor started lagging with the frames. (it ended up being for the better because I added another track later on.

My cousin made me a pretty collage using the two full bodies and the other frames from I Won't Say I'm In Love and I ended up using it as my wallpaper xD.

And it's also said cousin who improved the 4 shots before the zoom in by making the sequence more funny and exaggerated. Arguably that zoom in shot with the background opening up into another shot...

My favorite really. The background are two black halves of the screen and the full bodies are both on separate layers and they're all animated to zoom out to give the impression of the camera zooming in.

From the storyboards, I initially planned it to be a bamboo grove in Red Lotus Pavillion transitioning into Mo Ran tying up Xia Sini's hair with the bamboo as foreground, but decided against it as 1.0 was not aware of Xia Sini's identity.

Instead, I opted for another favorite scene in chapter 75 with CWN saving Mo Ran in Peach Blossom Springs which also has this passage I really like.

(smithereens) He really got shooketh there.

The next scene stayed the same as planned and is the moment in chapter 32 where Mo Ran is grumpily feeding Wanning medicine, which then transitions into the funny turn around scene.

The frames transitioning from their first meeting to the New Year together was something that ended up developing later on. (I love the New Year frames, I love how Mo Ran's eyes light up as he looks at Wanning, I love how the fireworks are falling in the background and how the golden light is reflected off of Wanning's eyes—)

The spin sequence wasn't as hard as I expected. But that's probably because I've done it too much I kinda know what to do?

---

Last Additional Stuff

I think most of what I wanted to talk about is just the transitions and the spin around. The title at the start too as well as Mo Ran acting like a little shit. Also pointing out how I keep forgetting how his hair clip is supposed to be on his left lmao.

It's not definite yet, but I'm kind of considering expanding it somewhere in the far future. Closing this off with a Mo Ran cut out.

#2ha #ranwan #erha #animatic #dumb husky and his white cat shizun #my art

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emilydaisymasters · 15 days ago

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Beginning the Animatic

Today I began production on my animatic, and there was a lot more to tinker about with than I originally expected given all of my sketches. Ill give a quick run through of the scenes I have produced so far.

Opening

I had the details for the opening scene written in my notes, but since I didn't have any preliminary sketches to work from, I designed the look of the VHS player within Storyboard Pro itself. I referenced from plenty of different stock photos online, and just merged the details from a lot of different ones to get a simplified design. Additionally, I used my own hands to reference the movement there, as I wanted to make it as absolutely simple as I could come the time to animate.

The cloud of dust wasn't something I planned from the off, but I wanted the title to come about more naturally than just popping onto the screen, and I think that this fits the bill. I also chose to design moving assets in blue for this animatic, to make differentiating between background assets and moving ones easier. I have been told in the past by tutors that animatics have to be in black and white, but it just felt like the right call for myself.

Scene 1

Achieving this glitchy transition was difficult, but once again I referenced from a plethora of old home movies and such to gauge how the camera acted before displaying footage, and the blue bars were a big part of that. The colourful lines will be an omnipresent thing for this animatic, but they're really just place holders for the glitchy effect I will add in post.

I knew scene 1 had to feel bright and full of life, so I drew the character as she appeared in my sketchbook, but dialed the smile up to 100. The arrows are indicative of the direction of movement, and in the top left hand corner is a placeholder time count, which in the final will be steadily going up, though it is static during the animatic.

Scene 2

Scene 2 includes some forced perspective, with the character looking up at the camera as her body smallens with distance. Equally, there is a lot more of that titular camera shake present in this part of the animatic as Dad tries to hold the camera as steadily as he can.

Scene 3

Scene 3 is a scene from my old animatic that I felt did no harm in including here, and it sets up nicely the feelings Em has about not being the very best.

Scene 4

Scene 4 may be my favourite so far, since the lighting and the framing just feels really nice. It's very simple, with Em just opening up a christmas gift, but I was able to add a bit more shading and edge lighting to make it feel more like a christmas morning. This felt like a crucial scene to include, as many a home movie includes clips from christmas morning, and its almost a universal experience.

I still have a lot of work to conduct on the animatic, though the start is looking promising.

#de4404

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llilyrose · 3 months ago

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isolated frames + artist's notes below cut!!!

((for the people who want the photos and the nerds who like behind the scenes stuff))) ((((i am nerds))))

pssst...... . theyrge free to use with credit... spreadd my influence

thumbnail

oooh the troubles. im not logged in to my youtube account on mobile, which is where i made everything, so i had to upload the video to the google drive and download it from there onto my pc.

the thumbnail was the first thing i made for this project!!! you'll see the signature twohats coins in the middle (also seen in the achievement) with the little rings coming out and the starbelt above it.

the rings + starbelt combo represent the universe (who i also interpreted here if you're curious). the starbelt is a passive symbol and the rings are an active influence. you'll notice them throughout the different frames in the rest of the animatic.

"the calculator will make / the same mistakes"

The bottom portion is the beginning of the game where Siffrin makes a wish at the favor tree. It's meant to represent both Frin and Loop; The lyrics are referencing the fact that Siffrin made the same mistake Loop did long before them, starting the cycle over again. Something something because they're the same person and the calculator will never change without outside input.

the top portion transitions to the Loop hangout!!! i wanted to be smart about using the favor tree's leaves as a transition sequence and thought I'd tackle one going from light to dark. I used the Loop Hangout sequence here because I wanted a good excuse to use it in the next line of lyrics, but also because transitioning from one siffrin to siffrin and loop would be poetic and get across the message about their branching paths.

Originally it was going to be a sequence showing loop vs. siffrin's deaths against the king but i wanted something more seamless. the starbelt is there to look pretty and also because i think the King's time freeze turns everything to night for religious reason.

"yeah i see it in / its face"

i had to turn the contrast up for these shots! i didn't like how undramatic the originals looked in the context of the animation.

here's what they looked like before:

they didn't really match the intensity of the mood i was going for. surely you understand my dilemma

siffrin's pose went through quite a lot of change but i landed on something i liked. again, the star belt is there just to create some sort of detail that framed the characters as the main focus while making sure the canvas didn't come out super boring/empty

while drawing loop's eyes here i took some idea from marshall's ghostlight loop eyeshape because i was kinda OBSESSED with drawing those type of eyes and they're shaped like Me so i had to. help.

"i see it in its face" siffrin is hiding from the truth but loop figured it out a while ago. he's holding out hope and they're trying to get something, anything through to him. this was perfect for the loop hangout gwagh

"hold on tight to this time this place"

sasasaap siffrin my friend C:

the animatic shifts between loop and siffrin povs after abt every 2 lines. i got this idea because i had sasasaap siffrin in mind for "hold on tight... everything you know" and had mal du pays in mind for "you were born... that is where".

This is Loop after beating the King in the true ending. happy with all their friends. "hold on tight to this time this place" -> hold on to the memories of your friends, to the happy moments you spend with them, because they will be ripped away over and over until you'll never be able to get them back.

"everything you know / will be erased"

tying into the last line, this is loop after making their wish. there's no going back anymore. everything they know will vanish, their party won't be theirs anymore, their memories along with themself won't even EXIST anymore. everything will be erased, and that's why they have to hold on to those past memories. separate this timeline from their own. (what a shame that we know this timeline is the only timeline that exists... still holding out hope, are you, loop?)

the star belts and rings are back and this time very much so intented to be referencing the universe. i alao just think star belts are good in space settings, and wanted to mimic the opening sequence of the game

lighting gets harsher in the second photo on purpose (the star's closer to their body, of course it would light them brighter)

"you were born inside your head"

bounce to siffrin's perspective

MAL DU PAYS EDITS OF THE PARTY MY FRIEND. I LOVE MAL DU PAYS DEARLY (see the art/poem i made if you don't believe me coward)!!

mira was tweaked from the edit i did of lélu, ocean's miraloops au version of mal du pays, and the rest of the party try to immitate that style. in the future I'll go back in and make them fully animated sprites for our collective leisure.

this scene is meant to be mal du pays immitating the party. "you were born inside your head" -> you're not a real person without your memories, all the memories you have technically don't even exist in the first place, + your home isn't real anymore either. it's also about mal du pays itself, born from within siffrin's mind and existing only within the memories of his time in the loops.

the extra lighting + details were meant to add atmosphere to the existing piece, like the "oooooo" and the soft track backing the sung lyrics. i was playing around with animating these and making them into sprites before finishing the pmv but i knew that if i did that i would abandon the project altogether probably and/or set it back by a long while. so instead we're waiting for me to do that after the fact.

"that is where you'll be when you are dead"

the end of the mal du pays fight scene!!!!!! i need better names for these shots heeeeelp me.

specifically the part where siffrin's giving up. mal du pays has done its job and is finally putting it and siffrin to rest; sif just wants a moment of peace, just wants some kind of clarity, but in the end he accepts that he won't get any further than he already has and that all his issues are things he has to live with.

he will stay inside this prison of his own making until he gives up or otherwise can't move forward. he just wants out.

(side note: siffrin's hat is all curled up! it's a small detail i noticed on one of id5's reference sheets, where siffrin"s hat curls up in certain moments only. i thought I'd include it here.

those reference sheets helped me with drawing a lot of her characters! for example, siffrin's gloves and hair came from a siftuation and hair example sheet respectively. i saw the phrase "komaeda hair" and could not help myself. i am a wavy/curly hair fiend)

"you are just a boy / you are no man"

we're cutting back to the loop wish pov; here's them actually eating the star!!!!

the first image is my favorite out of the whollllleeee pmv. the lighting before they take a bite. HELP me.

ignoring the gendered words used in the lyrics, I'm trying to paint loop as sympathetic here. they didn't deserve ANYTHING they went through, the absolute torture they got wringed in!! they never had a MOMENT to stop, to breathe, to process what they went through, to deal with any of it in a healthy way. on the inside they're still a person, still a siffrin, someone distinct with thoughts and feelings.

the lighting kinda sucked to figure out but at the same time i had a lot of fun with it??? i didn't want to draw siffrin's hat but i realized after making the "everything you know" images that loop doesn't even have their hat in the prologue. heeeelppp me. i didn't wanna go back in and change it because i spent a lot of time on it there so it stayed.

yeahh these are my favorites. i already said that. but still. the dramatic lighting was fun! i colored from dark to light which isn't usually how i shade things but it made sense in my head here.

"and nobody you know will / understand"

these lyrics are meant to be taken VERY literally. literally nobody they know (or used to know) understands them. nobody knows who they are, who they used to be, the constant inner battle they're fighting.

their family doesn't know them anymore. their family is scared when they first meet, even!!! they've spent all these loops trying to hide from themself and everyone they know so obviously they would be so so so uncomfortable "meeting" everyone again, acting like they don't know them.

THE BACKGROUNDS SUCKED. OH MY LORD. IT WAS SO BAD. HELP ME. THANK YOU MY LEAF BRUSH AND MY PEN BRUSH (FADE) YOU ARE SAVIORS I WOULDN'T HAVE MADE THESE WITHOUT YOU. I don't know how to make backgrounds anything other than lineless.,, lines in backgrounds take attention away from characters if you're not careful and that's the exact OPPOSITE of what i wanted to do!! i had to leave space for text also. these shots were composition hell. help me. help me. save me.

"you are just a boy / you are no man"

"and nobody you know will / understand"

direct continuation of the last sif part with them drifting in a mind void after the mal du pays fight

because i feel like the awakening happened a little more gradually than it did in-game? they'd fully given up by that point and the reason he woke up wasn't because of the loud noise around him, but because their party was trying to break through the mdp haze. likely mirabelle healed the timefreeze-like state he was in to get him to wake up

this scene is SUPER metaphorical!!!!! the lighting made it a bit difficult, and the lack of any source media to base it off of didn't help, but i made do.

it took me forever to think of what i was gonna put here. for the whole pmv i had some sort of idea of what i wanted to make for each scene (barring this scene and the last loop scene) but this one ESPECIALLY i was clueless about. i asked around and got some good ideas (thanks dasner!!!) but knew i wanted to do something with siffrin and figured that i should do a continuation after the mdp fight.

it worked out in the end because the last frame made both of the "paths" in the pmv coincide while also just looking pretty.... winning I'm winning !!!!!

when i first posted it these were my least favorite scenes but I'm really warming up to them. they're just so pretty. wow i really made those huh. i really made them. that was me. boggles my mind.

so uh yeah that's it. not much to say after all that!!!

I'm very very proud of how this turned out, and I'm really really happy you guys seem to like it too :)

i was gonna show you guys the storyboards for funsies but I've already inserted 28/30 possible embeds onto this post!!! ouchies!! owzers!!! sorry!!!!! I'll have to remake this pmv using the storyboards. give me 10 seconds.

(I'll link it here when i post it)

youtube

[trips and drops this] oh god oh ngo not my isat pmv ive been working in for rhe past three days no no nobon

#isat #isat loop #isat siffrin #in stars and time #my art #my animatic #my pmv #director's cut #ALWAYS need a director's cut when i make stuff #it's a llilyrose tradmeark at this point #heeelp .me. gggaahg.

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