THE POST PRODUCTION & EARLY PRODUCTION
I split my process into 2 sections, making the finishing of my rigs
the midpoint. Section 1’s aims was to finish all post production,
model my characters, texture and rig them. Section 2 covered
animation and pre production. The first 3 months of the year,
covering most of section 1, proved to be the better half of the
project, when it came to planning and everything running
smoothly. I had prepared updated character designs in December,
ready for collaboration, so within the first 2 weeks back I had Alice
and Victoria on board to storyboard. Thanks to the successful
rigging experimentation and development I did in the previous
term, I had a provisional modelling and texturing and rigging
workflow that was ready to be put into action. I had a general idea
of the animation's storyline.
5
The storyboard collaboration with Alice and Victoria greatly
benefited from the visual script I created, the document
cross-referenced my script with clips from other fight scenes for
which I had created a database as part of my research. This made
it easier for both me and my storyboard artists to visualise my
concept. Setting myself up to get off the mark as quickly as
possible also took the pressure off some of the more long standing
collaborations. I was able to assign briefs to Andrew and Josh that
gave them up to 2 weeks leeway after the deadline I asked for, so
when he let me know that he would not be able to texture his sign,
I had plenty of time to find Ellie. And when I got the locker
environment for Andrew I was able to make visual adjustments and
optimize the lighting, cutting render times from 7 minutes to 2.
The same went for Dina with the creation of Tabby’s bedroom
photos.