So, as discussed previously, the danger with your story (which is good) is the emphasis on human hands etc. The idea that the bowtie literally slaps the wearer's hands away is nice - but you've got 2 hands to observe, draw and animate - alongside your bowtie character. I'd still suggest that there are ways to stage your idea without the human component (voice track excepted) and put all the focus on what is going to be incredibly challenging about animating your object successfully. You could do this as a series of short scenes; where they begin with the bowtie successfully tied around the semblance of someone's neck, and then each time the bow devolved into something else; on the soundtrack we hear the wearer's growing exasperation. This way, we don't see the tying of the tie (requiring hands) we just see the bowtie's response to being tied.
In terms of the potential of morphing sequences - wherein the bowtie 'shapeshifts' - and all the dynamism and fluidity that suggests, take a look at this animation for some inspiration and some ideas for ensuring you take your animation into a 360 degree environment - and make the very most of the elasticity of 'white space'...
http://vimeo.com/20793651
Oh - and if you're going to use a talk track - make sure the quality of acting/recording is suitably up-to-scratch. Nothing kills student work quicker than a crappy voice-over...
OGR 20/03/2012
ReplyDeleteHey Gabriel,
So, as discussed previously, the danger with your story (which is good) is the emphasis on human hands etc. The idea that the bowtie literally slaps the wearer's hands away is nice - but you've got 2 hands to observe, draw and animate - alongside your bowtie character. I'd still suggest that there are ways to stage your idea without the human component (voice track excepted) and put all the focus on what is going to be incredibly challenging about animating your object successfully. You could do this as a series of short scenes; where they begin with the bowtie successfully tied around the semblance of someone's neck, and then each time the bow devolved into something else; on the soundtrack we hear the wearer's growing exasperation. This way, we don't see the tying of the tie (requiring hands) we just see the bowtie's response to being tied.
In terms of the potential of morphing sequences - wherein the bowtie 'shapeshifts' - and all the dynamism and fluidity that suggests, take a look at this animation for some inspiration and some ideas for ensuring you take your animation into a 360 degree environment - and make the very most of the elasticity of 'white space'...
http://vimeo.com/20793651
Oh - and if you're going to use a talk track - make sure the quality of acting/recording is suitably up-to-scratch. Nothing kills student work quicker than a crappy voice-over...