Pre-production: Week 4 tutorial with Phil

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. The focus pulling in the animatic; the parallax is working, but more comedy. Not as sort of “Ren and Stimpy”, we need to build in some more time. We need gags in this act.

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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