2) Get rid of Dreamworks guy! Replace with something else. A lost thing perhaps? My suggestion is the cow on the moon. Muahahaha. MOOOOOO~~

3) Clouds-to-Moon transition is confusing. We decided on just falling straight down right?

4) Make mock-ups of all transitions! Make boards, test out on AE etc. Just try!

5) During sea scene, maintain close-up of the Chris and sock (“… once more be in their company.”) as the sock changes to the cup. Then can cut to the transition.

6) A fair number of changes I need to make to the narration.

http://graphics.pixar.com/library/

n… some renders…

notes:

Toon > Assign Fill Shader > Circle Highlight

*this will create a ‘ramp shaded’ effect on the fill. strong highlight n shadows
Under the pFXToon attributes, we can edit a couple of settings-

Color
Choose the colors for the highlight and shadows. And the diffusion between these two colors. Set the Interpolation to none to create a crisp line between

them
Color Input specifies how the highlight and shadows will be displayed on the render

Transparency
The alpha setting of the toon shader. As with the Color attribute, the left most area of the graph represents the shadows and vice versa for the

highlights. Black for value 1 in alpha and white for a value of 0 which is full transparent.
In this setting, I wanted to bring out the shadow more than the highlight so the ramp goes from black to white.

Incandescene
Creates a glow from the texture. This setting was discovered by accident. I swapped the values of the ramp and instead of a direct glow, it now emits

glow from the outline, giving it an artificial rim light which can be controlled easily. The value of the ramp is also reduced.

Specularity
Specularity is turn off (set to 0) so we have a matte material.

First begin by duplicating the model. The outer model will be textured with toon shader with the above setting (transparent). This will sit ontop of the

normal textured model (painted look).
The key objective is to get rid of the ’3D’ smooth shadowing on the model but at the same time maintains the painted texture that we need.

*The renders are not done properly so you can still see the disgusting smooth shadowing on the arms. Will be fixed.

• Camera too bouncy when he hits the water
• horizon line the reference for christopher
• tumbling cut, make sure when the cut occurs, the head is near where the head is in the close up shot.

Clouds scene:

• after he lands on the random cloud, cut to more medium shot to establish he’s on the cloud.
• remove bounce on shot with fish cloud
• another 20 frames for jack in a box cloud

recording of voice!

–joan

http://www.nikelegend.co.kr/

at first i thot the look was quite painterly, but i realised it was youtube’s fault. BUT it’s still quite awesome anyway.

–joan

Animatic – Kitchen:

1. don’t do the bouncy camera
2. no need to track mom (mom walking is too much, distracts from the question)
   • have Chris ask the question, then have the camera turn to the right when he looks up to the mother who comes in from the right
3. maintain similar downward angle for all shots (keep perspective consistent)

Animatic – Sea (falling to sea):

1. make sure camera’s always delayed w.r.t to Chris’ movements
2. because the camera is delayed, tilt it downwards towards the sea as he splashes, then tilt it to horizontal when it’s in the sea
3. keep camera at the same speed and stay with Chris

Animatic – Sea (porthole):

1. have Chris already at the porthole before you cut to the through-the-porthole shot. Then just have Chris move forward towards the porthole.
2. let Chris have a moment to see and soak in the wonderment of the jack-in-the-boxes before they all come at him
3. for the tumble, have Chris tumble away from the camera (he’s currently too close to the camera)

• too much movement, shorten distance
• why do we need to have the pan?
• perhaps a static camera? showing chris putting his feet up?

2) “Feet in the air” – stay in 1st shot, then cut

3) Montage sequence – even out montage, give each item enough time

4) Huge gap in narration during Teddy cloud sequence – resolve it!

5) Wide shot with Teddy cloud

• placement of Teddy in shot is too tight
• no need for cut during jump – have Chris land in the right position and keep the wide shot

6) Kitchen scene

• DO NOT SHOW MOM’S FACE AT ALL
• “to his question” – POV on bottle, OR keep camera static (same shot), but further out
• “halt” – Chris is already in place
• camera moving along with Mom is too much
  • find 1 viewpoint and stick to it
  • can turn the camera to the right slightly, and have Mom walk into the frame
• have the Mom’s hand as a cylinder in the animatic

• Make semester 2 schedule. Doesn’t have to be detailed.
• No need to spend too much time on folly right now
• **TEMP AUDIO!
• **Note: Try to minimize workload on every single thing. Spend our time wisely.

Joan’s kitchen animatic:

• when Chris is falling in to the chair, make it a normal camera pan
• **Note: Keep camera movements conservative i.e. one direction per movement. No need for fancy Z+Y+Rotation movements etc.
• **Note: Always think, “how would the camera movement be like in a live action film?”
• Variation between cuts too small – make sure there’s always a reason a cut

Parents’ design:

• Define Mom’s style – motherly rounded or skinny?
• Make father look more like Chris
• Pick up design elements in Chris character design and use them in the parents’ design

Our plan next week:

Finish up full animatic to show Melanie, with temp audio synched to it.

Notes from class.

¨      We’re required to write a thesis thing of about 1.5k words describing our project and the things we will be focusing on during our journey to complete the project. (Lighting, ways of rigging, etc.)

¨      By the end of this semester Melanie expects to see a rough draft of the aforementioned thesis thing.

¨      By semester 2 we are expected to produce a portfolio together with our final film video, which should include parts of our film, amongst other things.

¨      Don’t skip class.

¨      By next week, we need to produce a production schedule outline.

Comments from Melanie

1)     Suggested we could try out the paint effects from Maya as a easier lighter alternative to PS CS4 for our texturing. According to her it has 2d and 3d paint effects so we could get a mix between the two.

2)     Told us we should keep an up to date animatic that constantly replaces the drawn parts with finished portions of the video so that we can have a clearer picture of the progress.

3)     For the stars scene, she is not that keen on having the cutoutmoon, as it suggests another world, which is different from the sky and the sea, and might confuse. She prefers there to only be two distinct worlds, the real world and Christopher’s fluffy, imaginary world.

4)     She also added that there seems to be some issues with the panning scene in the stars and suggested we not have Christopher in that pan but have him in the shot before and after the pan.

5)     She also suggests that we do not have the milk bottle float in from the bottom for the last shot in the sea before the water drains.

6)     In the first scene, when Christopher falls through the bed, it’s a crucial scene because the audience needs to be sucked into the fantasy world along with Chris. She said that he shouldn’t be static in that scene, and didn’t seem to keen on the fade out part in the animatic.

Team Chris discussions notes.

1)     For the stars scene, we are going to change the pan scene to make it cuter and make it more coherent with the sky and sea. Basically when the camera pans the stars will go poof! And turn into a painted version of the thing it represents. And at the end, Osiris will be 2d animated and painted.

2)     For the aforementioned milk bottle scene, were gonna have the milk bottle appear from the left and have the mother stand behind chris holding the milk bottle when the water drains.

3)     When the camera moves, it is important to note that the camera has weight, so it will lag abit before it moves, and also is slower…

_______________ _ _ _

kader_ok done.