storyboards and attempt at animatic

Overall Image:

I really tried to come up with something in my head that would make sense for a complete animation and it took freaking forever because I was thinking a lot about the aesthetics and trying to convey some type of story. The only thing that I could think of in terms of revising a synopsis is having a piece already pre-made into seperate parts and just have itself appear to be drawing. On top of that I want to add more complexity to it by having a way to show it all without having to zoom in and out. So now I am thinking largely about how scenes were handled in the 60s and 70s with split screens and such. The animatic on the other hand wasn't a complete failure but it didn't do much for me because I couldn't think of any actions at the time. So instead I did further research to try and flesh out my idea a little more which is included in this post.

Animatic:

animatic from qaaim goodwin on Vimeo.

Additional Research:
Robert Hardgrave:http://www.roberthardgrave.com/
Eyvind Earle:http://www.gallery21.com/serigraphs_eyvind_earle.htm
Split-Screens:http://forums.klipsch.com/blogs/moviesandtv/archive/2009/08/05/cinematic-style-1970s-split-screen.aspx

MASTER CLASS! - BILL PLYMPTON

I was super excited to see Bill Plympton and have a master class with him. I grew up with seeing his illustrations and animations thanks to my older brother. I loved his master class because seeing his process was really enlightening. I can't say enough that his style is just so prominent with the sketchiness that I would hate to see it fully rendered out "Disneyesque". After the lecture he gave me some valuable insight on who he was before becoming an animator. He told me that he started out as a graphic designer to help support himself and it launched into an animation career because of his love for drawing. If you work hard enough for your dream it will come true in some fashion. I admire that honesty because most artists would sugar coat it.

Final Project Idea

GENRE
Experimental

LOGLINE
Expression of the self through the fluidity of line.

SYNOPSIS
The idea is not to produce a piece that conveys any true story or emotion but to allow the viewer to draw whatever they are feeling from the imagery. The movie invokes the viewer's intuition and opens up their mind to tell a story or emotion.

VISUAL DEVELOPMENT
http://www.behance.net/Gallery/Fusion/174737
http://www.behance.net/Gallery/Lake-Shore-Illustrations/198008
http://www.behance.net/Gallery/Little_ampLarge-Font/191195
http://www.behance.net/Gallery/experimental-mess/51675
http://www.behance.net/Gallery/Lovestruck/300780
http://www.motionserved.com/Gallery/LITTLE-HOOLIN/312007

seperate example
http://www.motionserved.com/Gallery/surface-trailer/292882
http://www.motionserved.com/Gallery/RAW-POWER/328014

Mid-Term Revise 2

Mid-Term Ball: Psychoanalysis from qaaim goodwin on Vimeo.

For this one I kind of took a leap to end the animation early while trying to keep some of the elements from the previous versions. The main thing to do was to design the animation around my hardware so that it could run to a certain degree. I found that adding too many segments to the objects in one scene would slow down the render considerably....where as if the object was moving super fast with the camera pushed further away...it ran normal. Just overall crazy calculations I didn't think of before until now. This isn't the final clip because I am currently rendering a fully detailed version of this and I will post it once it is done.

mang!

REVISED MID TERM from qaaim goodwin on Vimeo.

Never do 3D with after effects unless you really have the time. I am so swamped with work that I am wondering how I got through this. I feel that I resolved some issues that were bothering me and I hopefully addressed the comments. As far as the three different parts they are suppose to represent three different parts of myself. The little circle menu is suppose to signify going into my mind to see my inner workings. I need to emphasize that aspect a little more. I like merging two programs together but I am hating the huge files but that comes with the territory.

MID-TERM ROUGH DRAFT

Psychoanalysis of Q Rough Cut from qaaim goodwin on Vimeo.

Ok. I know what you are thinking about my project. Why is it different from what I proposed? Well my reasoning for that was it didn't make any sense to me with what I came up with as a concept. It felt kind of rushed and plus it would involve the viewer trying to attach itself to a creature that didn't have human features. My secondary idea to this was to focus on myself as a subject. My revised idea is now to explore my mind and see what is ticking in there. Nothing in the video is really what I think about all the time but it is funny how I try to put imagery to the different parts. This is pulling forth from the first concept of how to show an emotion visually. A great deal of this video is made in Cinema 4D to have a better understanding of the program and the integration it has with After Effects. A great deal of troubleshooting has been done to get to a functional point in the mid-term project. I still have a lot of work to do for this project especially for the individual scenes for the sections. Right now they are incomplete because they are not my final vision....they are sort of place holders so I can see what type of motion I want.

Mid-Term Concept

My idea for the mid-term dynamic imaging project centers around the self. I want to take viewers on a wild ride into the dark abyss of the subconscious. I am basing majority of my concept off of the writings of Joseph Campbell who points out in mythology that the subconscious mind is represented by water. To represent the viewer when watching this animation I chose the jellyfish because of the different species found in the abyss of the ocean. The very thought of being surrounded by absolute darkness everyday conjures up the feeling of claustrophobia. We begin this journey into our own mind by witnessing a group of jellyfishes coming on screen and interacting with its environment. The next split second we are zooming into the jellyfish and watching how the brain works with these quick bursts of electrons hitting it.

The brain begins to open up and suck us in to it. Inside we witness a lot of nothingness until ink splatters begin to drop on top screen growing larger and larger. Soon black particles are rushing outward towards the screen filling it with complete blackness. Slowly emerging from the darkness are some familiar shapes of a landscape. We now notice that we are floating in a dark cave and we feel trapped because we don't see a way out. Soon words begin to appear illuminating the space that question why we are here and what we are feeling. We try to ignore them but they begin to shift into odds shapes and form imagery that leaves us confused. Why are we thinking these thoughts? We wouldn't normally think this way but we are trapped and don't know anything? Just before we completely lose it a bright flash happens and we are suddenly being sucked forward at warped speed. Before we can gather ourselves we find ourselves outside of the jellyfish wondering what we just saw. The jellyfish begins to swim away quickly.





INFLUENCES FOR STYLE/CONCEPT:
http://www.bogleech.com/bio-deepjelly.html
http://www.behance.net/Gallery/Change-is-The-Only-Constant-Dickmans-Design/121895
http://www.behance.net/Gallery/Glow-in-the-Ocean/200023
http://www.behance.net/Gallery/jellyfishes/85682
http://video.nationalgeographic.com/video/player/specials/editors-picks-specials/atmosphere/arctic-abyss-under-the-ice.html
http://ngm.nationalgeographic.com/ngm/0505/feature4/
http://media.photobucket.com/image/fish%20of%20the%20abyss/joserouse/Animals/Fish/Abyss/transparent.jpg
http://lh5.ggpht.com/abramsv/SBAxWCdoyGI/AAAAAAAAPPw/dx8B68QQD0E/1265997134_55201eb73b_o.jpg
http://graphics8.nytimes.com/images/2007/05/22/science/22deep_extra.jpg