The animation is all done (save for some inevitable minor adjustments)! now all's left is the audio. My friend Mark McCabe, who gave us the music for The Agent Ep.1, is working on a piece, and my friend John Worsley introduced me to his friend Michael Holloway who did the music for this:
well, Michael's doing a piece for The Agent Ep2. as well. I can't wait to hear what he comes up with. based on the above video, i'm sure it'll be great!
I'm working on the foley stuff now, and this weekend I hope to have all the dialogue recorded.
That is all.
Showing posts with label john worsley. Show all posts
Showing posts with label john worsley. Show all posts
Monday, January 5, 2009
Wednesday, March 12, 2008
Story Board to Background Painting...
Here's a scene where our hero, The Agent, happens upon the abode of the cartoon's villain.
First, the story board:
i tend to draw pretty light (lighter than what my scanner can pick up without showing what's on the reverse side of the page, anyway), so it's hard to see that there's a trailer in front of The Agent in the middle of that mess. You might also notice the heap of a car over to the right. no, that won't do at all.
Next comes the 2 point perspective guide:
MAN! Frank Lloyd Wright couldn't have done better himself! (just kiddin' FLW) This is the first time i've taken the effort to add any serious perspective to my cartoons, and i think it's made a difference for the better. and if not, well it was fun! hopefully it won't make animating too much of a pain. I draw 'em on three 8.5x11" sheets of paper taped together lengthwise, so i have room to kick the vanishing points out as far as i need. then i scan it in and come up with...
The finished background:
i know what you're thinking. you're doing a Flash cartoon... this clearly wasn't done in Flash. you're right! it's Painter! My friend John Worsley introduced me to Painter 9 before my Join the GOONS cartoon, and there was no looking back. besides the fact that it sets my cartoons apart from straight Flash projects, I just really like the way it looks.
That wasn't what you were thinking? OK, it must be that in the story board there were 2 palm trees and an awning on the trailer... where'd they go?! well, you might have also noticed the '69 Cadillac Coup de Ville. Those things don't come cheap! in order to afford the Caddie, we have to sacrifice on other things... like one of the palm trees and the fancy awning. these are the decisions that keep us directors up at night.
that's it for now. More to follow soon!
First, the story board:
i tend to draw pretty light (lighter than what my scanner can pick up without showing what's on the reverse side of the page, anyway), so it's hard to see that there's a trailer in front of The Agent in the middle of that mess. You might also notice the heap of a car over to the right. no, that won't do at all.
Next comes the 2 point perspective guide:
MAN! Frank Lloyd Wright couldn't have done better himself! (just kiddin' FLW) This is the first time i've taken the effort to add any serious perspective to my cartoons, and i think it's made a difference for the better. and if not, well it was fun! hopefully it won't make animating too much of a pain. I draw 'em on three 8.5x11" sheets of paper taped together lengthwise, so i have room to kick the vanishing points out as far as i need. then i scan it in and come up with...
The finished background:
i know what you're thinking. you're doing a Flash cartoon... this clearly wasn't done in Flash. you're right! it's Painter! My friend John Worsley introduced me to Painter 9 before my Join the GOONS cartoon, and there was no looking back. besides the fact that it sets my cartoons apart from straight Flash projects, I just really like the way it looks. That wasn't what you were thinking? OK, it must be that in the story board there were 2 palm trees and an awning on the trailer... where'd they go?! well, you might have also noticed the '69 Cadillac Coup de Ville. Those things don't come cheap! in order to afford the Caddie, we have to sacrifice on other things... like one of the palm trees and the fancy awning. these are the decisions that keep us directors up at night.
that's it for now. More to follow soon!
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