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To lessen the contrast the old credits suffered with their computer generated look, the text was roughly traced. Fire crackling was created by the sound design students to go with the text ‘crackling’ into existence for the aftermath of the film.

Rebecca Edwards

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Shot 20

Rebecca Edwards

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Shot 19 update, propeller added to the battle jet with motion blur

Kelly Chen

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For the end credits, we iterated a few styles such as the one above to see whether we could improve on our current text placeholder in the animatics which does work well for the film currently, however is just a fade-in.

For the opening title, we also experimented with a few hand-drawn fonts. Should we choose one of these for the final instead of an already published font, it could be further refined for the final movie.

Rebecca Edwards

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When researching end credits from movies, we found examples which were very typographically focused, or graphic like Saul Bass, or a more gentle blend of the two.

1) Saul Bass Collection 2) Birdman (Font: Bell Gothic Black, animation inspired by Jean-Luc Godard’s film ‘Pierrot le Fou’ (1965)) 3) Fear the Walking Dead 4) Mulan 5) Sherlock Holmes 6) Se7en 7) Whiplash 8) Dr Strangelove

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Shot 7, this scene was incorporated with shot 5 to cut own on the amount of cut scenes, and for continuity with the kite string. Again, the string was drawn on ones with the child on twos.

Rebecca Edwards

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We have decided to go for gouache as our brush for colouring. It brings slightly organic texture over the smooth lifeworks, which also complements the quality of  the stop motion background. And the texture brings more life and intimacy to the image. We have looked into 101 Dalmatiens and the short film of Ratatouille as style reference.

Kelly Chen

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Slight hair movement for shot 13. 

Kelly Chen

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To create the ‘wiggling’ of the Toy Dragon, the previously made 3D model was rigged with joints and a spline wave. In shot 6, this was then attached to a wire deformer as it required a more complicated movement than a simple translation.

Rebecca Edwards

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Shot 6

Although the Toy Dragon was drawn on twos, the string blowing in the wind looked jagged, so was drawn on ones giving it a smoother, more flowing look.

Rebecca Edwards

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Shot 19 in process, camera locked to show an angle looking up to the sky.

A B-17 model was found online, and while not the B-29 plane it was extremely similar in shape so could be used as a reference, as the main differences in the plane where on the upper side which could not be seen in this shot.

https://free3d.com/3d-model/b-17e-flying-fortress-21249.html

Kelly Chen

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Shot 2 extended.

The ribbing for the toy dragon has currently not been added for consistency, should time allow, it can be added later on.

Rebecca

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Animatic, Second Interim

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Shot 17, line-work finished.

- Rebecca

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Shot 3, line-work finished.

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Shot 11, line-work almost finished. Leaves with in-betweens still to come.

- Jean

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Testing a complete landscape with temporary materials. This set in particular was not designed for animation, but we decided to attempt some haphazard movement in the sky to represent the effect that a finished example would try to achieve.

- Luke, Kelly