In terms of
use of leaves/ flowers/ blossoms they’re all helping the feeling of being in
this ethereal atmosphere, invited into this mystical world. In the animatic
change the flowers into leaves. Augmenting
all the shots all the time with what it looks like, although in terms of
proportionately we need more time with them dancing. We can probably truncate
the beginning and manage the ending.
Resolve the
slowly, secretive little coy scenes and look at how to weight the piece so that
the ending is not rushed. Look at a few more sketches to slot into the
animatic. Look at Hemaraj/
how it as a puppy is silly knocking things over, sitting on a plant; an actual
incident to introduce his arrival. He needs to be more annoying and disruptive
just by being there. Kinnaree will do something lovely and he will happens to
that something and being proactive at mucking it up.
The
animation “…the cat came back the very next day”. The numbers involved is a
case where the relationship builds through a few incidents, great example of
how to operate the sequences in our animatic. Hemaraj-annoyance boost; Kinnaree
is coming off as a moody brat at the moment. In act 2 we need a bit of
escalation so we can feel her frustration just a bit more as opposed to she’s a
bit anti-social.
Hemaraj – the character archetype needs to be
more doggish than dragonish. Look at Tigger in Winnie-the-Pooh. He is an irrepressible,
bouncy, cute thing.
Kinnaree - Something imperious is already coming off of her persona in the animatic which is good, but needs a push – need to remove the moody cow element.
Enamelling
design – surface jewellery patterns to be applied to the props and elements in
our world. Mirror cracks and on the black of the glass, the silver paint; the
deeper the mirror, the more rich the reflection is somehow. Large, old mirrors;
the quality of their flatness where you can swim in it, you end up with the
sense of thickness, over a colour reflective surface.
Study the SSS
shader in Maya; how to create a lustre quality with the enamel in mirrors, the
throw of light. Is there a way for our flat planes in Maya to investigate ways
in how the SSS shader/ route in hypershade for the colours to glow, not in a liquidly
way, but as if the light is going in the top surface and bouncing off of the
back surface. So, we can have a laminated surface; silver back surface, a layer
of gold resin, and on top of that layer of resin, a colour of green. This will
make a vanished effect; a bejeweled pearlescent look. Light will skim across
the surface and make the object come alive with a coating of reflection and a
scattering of colour punching through. We want a burnished feel, a mellow light
scattering across the planes/ displacement geometry in Maya. A depth of colour
is happening on a flat, 2D plane. It’s all about layering. A composite effect
as it bounces back on or eye.
Our world
begins as if in the morning, a sense of wintry dew on the trees and the antique
sun working through the environment. As we continue to unveil the bits of the
world through the camera, we should feel vibes of passive neutrality. Something
feels decorative, jewellery like. Details and pigments like “The Dark Crystal
(1982)”. A shimmer of iridescence will be working off of the planes; the pieces
of jewellery.
To
summarise, we need escalation in act 2 to remove the unsympathetic element from
Kinnaree, a few of annoyance scenes, plus the gags. The frustration will arise
in the audience to, as opposed to being something charming. Also, we need a
couple more of increments and a longer ending where the two characters are
dancing in unison.
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