may 15 – final animation presentation


(link to powerpoint)

feedback on presentation:

  • character-driven story: very much so, did not fully realise until looking back retrospectively, scenes and stories built around main charas
  • if submitting to eg. brighton film festival – slow down credits, adjust slight editing lagging issues with certain shots to give a smoother effect


notes from other presentations:


genre research: sci fi


  • ‘notoriously male genre’ – only because of overriding dominance of male-centric stories told in film and males within film industry, something that needs to be addressed and changed
  • reflective of patriarchal society of how even in future speculative alien worlds, women still don’t exist and aren’t given the same opportunities as men to live out adventures of leading protagonists
  • sense8 and outlander – both shows i have watched and enjoyed greatly especially because of the mentioned focus on balancing out sci-fi as an inclusive genre that includes people from all walks of life, breaking stereotypes and social norms
  • ‘feminisation of sci fi’ – i would strongly disagree, hint of a degrading tone much like saying ‘why are women ruining sci fi for everybody’, also is not just about gender but more about including diversity and increasing acceptance, showing a wider variety of society on screen and not just the straight white male

relating to genre animation:

  • reflective of how engrained patriarchal values are in our society – of how we assumed our characters would be ‘he’ and male, do they have to have a gender? could they be female?
  • pushing boundaries of sci fi as a genre – our film coming together and having elements of a rom-com in its feel, could it be an intergalactic love story?

post production

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  • found i particularly enjoyed doing the foley and editing audio SFX together, hadn’t previously worked this detailed on SFX for any project
  • creating the impression of sounds was more effective than actual realistic sounds, for example metallic noises for crowder were created from a variety of sounds (beans been shaken in a can, metal chains dropped on floor, assorted metal being hit on other metals)
  • editing – found a lot of excess footage in our shots that was unnecessary (still shots of a scene without any movement, lingering too long on parts), editing out critically to fit the flow of the story and film
  • colour grading – making exterior shots slightly more muted and blue toned to fit wasteland sci fi theme, interior shots balancing colours as lighting turned out very yellow
  • logo design – been talking as a group for a long time about designing a logo, went through many designs after discussion and sketching

tv: sense8 season 2

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  • looking through news articles, saw it being described as an ’emotional catharsis’ – would agree entirely, able to capture heightened and very real, grounded emotions in a way I’ve never experienced with another TV show before
  • able to recapture the feeling and essence of the first season whilst expanding plotlines and having character development
  • makes me very happy that there is representation of an asian female main character who’s character/personality doesn’t revolve around their ethnicity, is given major plot lines and able to go through the journey a main protagonist would
  • love seeing diversity of all 8 main characters together on screen, championing unity freedom, love and peace

filming process

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using dragonframe:

  • relatively simple process, had most trouble with seeing when things were in focus –> solved this by zooming into screen and using focus cue cards on the set to ensure focus
  • kept aspect ratio at 2.39:1 cinemascope to create cinematic effect for animation

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filming on set setup:

  • setting laptop on higher table allowed whole team to see filming process and identify any problems (hands in shot, blutack/tape sticking out, movement of props
  • ideally would have set placed on a higher table as the height was too low, had to stoop all the time to adjust and animate puppets
  • having large scale storyboard

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  • animating process: tried to set up teams for rota filming but ended up more effective to just stay as a unit for longer periods of time without switching and setting up/packing up

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  • whiteboard planning and writing lists/schedules really helped us to stay on task + communicate between groups in morning/afternoon when people weren’t around
  • clear filming list daily in chronological order so whoever was filming would know instantly what needed to be filmed

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  • storyboard – was always being edited and re-edited, shots taken out and shots added to fit story chronology better
  • crossing off shots after they were filmed to keep on track of progress


april 2-16 – new york trip


times square, chinatown, sightseeing 

  • atmosphere of walking in the street – full of energy that doesn’t exist any other place in the world, vibrancy and always something new and interesting happening

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visiting the MOMA and the MET – picasso, van gogh works 

  • had the opportunity to see some of my favourite paintings in person, very surreal experience!
  • whole trip was incredibly inspiring, gave me a different view of life that was so different to what I was used to but felt so at home in
  • very motivated to move to study here!

puppet construction process


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  1. felting kit to add texture to body – was advised by virpi and ended up being a time-effective way to construct the puppets and create a to-scale realistic texture
  2. crafting the base structure of doobee out of blocks of wood, drilling in holes for K&S and twisted armature wire


3. attaching latex covered armature wire limbs to main wooden structure – if we could redo this process we would dye the latex first before dipping the wires as acrylic paint flaked off the latex afterward and did not look as effective

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4. felting doobee – was a long process but worthwhile to get the ‘fuzzy’ effect that worked really well, would work for crower as well


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  1. creating body out of wood, legs out of 3D printed elements – had ideas on making a joint to make legs moveable but found twisting armature wire worked better and was an easier, more feasible solution
  2. K&S used to insert joints into wooden body – created stable joint that didn’t move

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3. painted parts ready for assembly

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4. assembling parts together and texturing legs further with shades of paint to create rusted effect as plain black looked too flat, needed more personality and realism