ALL RIGHTS RESERVED
About the project
Whistle & Roar tells the story of an operatic tiger called Francesca and a janitor parrot called Evan. After Evan accidentally ends up on stage, the two begin competing for the audience's appreciation. This is a 3D CGI animated film for children aged 4-6 years old.
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PROMPTS
We drew three different words from a hat to help us to think of ideas for our film. The three words are:
- COMPETITIVNES
- OPERA
- THE WRONG DOOR
STYLE GUIDE
We also drew two different artist style guides from a separate hat, as shown down below.
MOODBOARD
After long discussion and finishing our script, we began thinking about our moodboard. We started focusing on the two movies shown below ("The Charlie Brown Movie" and "The Lego Movie"). We also looked at animations where the performances gave us inspiration for the main roles and gave them more dynamic and interesting looks.
How it should originally look like:
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Originally our animation was going to look like this. We wanted to give our animation a cartoony look with a thick outline. Unfortunately due to misunderstanding (Monika thought it should have been done in After Effect when in fact it should have been done in Maya) we haven't been able to change it. We have found out about this to late and we didn't have a chance to correct it. Therefore we have decided to continue with a more realistic look.
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CHARACTER PERSONALITY
FRANCESCA
TENSION 7 |
EVAN
TENSION4 |
BEAT BOARD & SCRIPT
When we were set the brief, we began drawing ideas. At first, we couldn't agree on a final idea for our film, so we drew two beat boards and wrote some scripts to go with the beat boards. After we compared both, we decided on the final idea.
STORYBOARD
At first, Giacomo and Shannon started working on the storyboard based on the beat board that we began as a team. Unfortunately, we had to change the way how Evan would appear on stage as it took too much time previously, and it wasn't clear for our audience. Also, we have changed out character designs since then, which meant that we had to create another storyboard.
First Storyboard
Giacomo's Alternative Storyboard
From this storyboard, Giacomo and Shannon finalised and digitalised the final storyboard so that it was clear and ready for our animatic. We also took an old idea from Giacomo's storyboard on the choice of typography for our title and end title.
Final Storyboard
Our final storyboard is the following.
ANIMATIC
First Animatic
The first animatic was used from Giacomo's and Shannon's drawings and edited by both Giacomo and Daniel. For a rough sound, we took the sound effects from multiple open sources online or through films.
Our animatic was met with harsh critique, mostly about the confusion of Evan's entrance at the beginning, as well as too many camera angles. People outside of our group also wanted clearer drawings than the ones we used and wanted all drawings to be in the same size ratio. Also, character design was met with mixed reviews so after the animatic we returned to the character design process.
Our animatic was met with harsh critique, mostly about the confusion of Evan's entrance at the beginning, as well as too many camera angles. People outside of our group also wanted clearer drawings than the ones we used and wanted all drawings to be in the same size ratio. Also, character design was met with mixed reviews so after the animatic we returned to the character design process.
Final Animatic
Shannon and Giacomo both planned and produced the final animatic from the final storyboard, and Daniel was responsible for the editing with Giacomo's suggestions. The vocals were recorded roughly by Shannon, using some of the same sound effects from the original animatic.
This animatic was received with more approval from our tutors and fellow students. They all said it was much more clear and easier to understand; also the comical timing was well received.
This animatic was received with more approval from our tutors and fellow students. They all said it was much more clear and easier to understand; also the comical timing was well received.
CHARACTER DESIGN
Human Sketches
We all each did our own character design ideas, and as a group we all agreed that this would be an equal and fair task.
The initial designs began as humanoid drawings but after our first meeting, we shifted our experimentations towards anthropomorphic animals. Our first sketches are the following which belong to us.
The initial designs began as humanoid drawings but after our first meeting, we shifted our experimentations towards anthropomorphic animals. Our first sketches are the following which belong to us.
Animals Sketches and Colour Tests
After our first meeting, we agreed that we would like to stick with animals as they are more child friendly and speaks directly to our audience. For our main characters, we agreed that that out two animals of choice would be a tiger (Francesca) and a parrot (Evan). We kept experimenting with out chosen animals.
Development of Character Designs
We used different forms of collage and colouring to get closer to our initial designs.
First Chosen Characters
These were our first character designs, digitalised by Monika, Giacomo and Daniel. Unfortunately, in our presentation, we had conflicting opinions regarding their design; therefore we decided to change them. Nevertheless, they were pleased with the idea of a tiger and a parrot.
FINAL CHARACTERS
At the end, instead of working separately, we all came together to develop some new character designs on one piece of paper. Monika took the pencil and was listening to everyone's suggestions and comments. Together, we came up with two designs of Evan and Francesca that we were happy with.
Turn, Size and Weight
Monika took the designs and digitalised them, adding colour and preparing the designs for Giacomo and Daniel to start modelling them.
Body Movement And Facial Expressions Sketches
Once we got our final designs, Monika drew some key positions and facial expressions to get a sense of how or characters would move, emote and perform.
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PERFORMANCE
In our pitch we had comments about making sounds from every day objects with musical elements. Another student pointed us in the direction of a group called "Stomp". In the end we decided that this may not be the best direction for us but thought that Evan could have a dancing performance with his prop, a janitor's broom.
To accomplish this, we acted different movements and recorded them for future reference. Coincidentally, from this we did not just get the inspiration for Evan but we also discovered a lot of Francesca's powerful, chauvinistic personality.
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CHARACTER MODELLING
Because we were still having problems with the design process, Giacomo began sculpting a basic model in Sculptris to depict how Francesca would possibly calculate into 3D. This model still had legs, but when we began modelling properly, we removed them because they would have hidden under the dress regardless. This simplified the process of our animation.
Daniel began modeling Evan from Monika's digitalised images, and after a week of work presented a first rough model. After receiving feedback about his almost human arms and wide back, Daniel returned to the file and produced a final model that was met with approval. Unfortunately, when the Evan model was given to Shannon to start rigging, there were initial vector problems within the model, and since Daniel was away and unable to keep working, Shannon cleaned up the model, but Daniel was left to remodel the arms so that they were more practical for animation.
Daniel began modeling Evan from Monika's digitalised images, and after a week of work presented a first rough model. After receiving feedback about his almost human arms and wide back, Daniel returned to the file and produced a final model that was met with approval. Unfortunately, when the Evan model was given to Shannon to start rigging, there were initial vector problems within the model, and since Daniel was away and unable to keep working, Shannon cleaned up the model, but Daniel was left to remodel the arms so that they were more practical for animation.
Francesca Test Models |
Evan's Modelling Process |
Francesca Modelling ProcessAt the beginning for Giacomo's experience he already had with modelling it was quite fast but easy, except when they discovered that the model was too simple with very small details with few edges. So it took Giacomo more time than he thought to do all of the corrections as with each advancement there was something else to change or correct. In the end, the model came out as predicted, minus the chest plates which were removed out of fear of inappropriate themes.
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TEXTURING
Giacomo and Daniel were both responsible for the texturing process alongside their modelling. Unfortunately, they were not given a proper workshop concerning texturing in Maya so they had to learn through sources online, meaning that their texture process was long and difficult.
Giacomo also received help from Steve but even with his help he had to change the texture 5 to 6 times until it was right. Giacomo also included a few small details for the chest plates as a replacement for the bumps in the original model.
Daniel's rendering process was slightly different. Through online web sources, he made many re-advancements of the original texture file until it was symmetrical to the final model, resulting in multiple image files. He was still able to complete the texturing as Evan consisted of simple colours. As a final touch, Daniel included a name tag to go with his janitor uniform.
Giacomo also received help from Steve but even with his help he had to change the texture 5 to 6 times until it was right. Giacomo also included a few small details for the chest plates as a replacement for the bumps in the original model.
Daniel's rendering process was slightly different. Through online web sources, he made many re-advancements of the original texture file until it was symmetrical to the final model, resulting in multiple image files. He was still able to complete the texturing as Evan consisted of simple colours. As a final touch, Daniel included a name tag to go with his janitor uniform.
Francesca's Texturing Process |
Evan Texturing Process |
RIGGING
Evan's Final Rig
Monika and Shannon created the rigging for both characters. Shannon Took on the initial structures for both Fran and Evans model, so for example the base bones and joints. Also adding in some of the control object circles. And then Monika finished both characters by finishing the bone structures (fingers and toes), the locators for the legs, object controls and parent constraining. She also created fixtures in the wrists of Evan where the model contained errors that would have been apparent when the arm was rotated.
Francesca's Final Rig
SKINNING
At the begging Shannon and Monika both had the role of character skinning. But due to Shannon having other tasks which took priority Monika took on the role by herself. Because skinning is a long process, Dan and Shannon did try and help out by starting to skin Fran. But, Francesca's model turned out to be quite difficult and program settings where changed therefore Dan and Shannon (with no experience with skinning) simply couldn't do it. In the end Monika took up both character and finished all of the skinning.
One difficulty Monika had was to learn the different processes of skinning. Due to personal understanding of the program Monika used a mixture of both processes (painting on the skin and inputting skinning amount onto individual vertexes). This, Monika felt more comfortable with and found it easy.
Another difficulty was Fran dress. Because of how the model was made (the construction of the dress) when skinned parts of the dress would deform while moving the hips or legs. To fix this, Ian (the cgi and digital tutor) helped Monika and showed her another way of constraining the dress to the legs. He also then helped identify and correct a fault in the rigging of one of the legs, which was the problem that was apparent in the skinning.
One difficulty Monika had was to learn the different processes of skinning. Due to personal understanding of the program Monika used a mixture of both processes (painting on the skin and inputting skinning amount onto individual vertexes). This, Monika felt more comfortable with and found it easy.
Another difficulty was Fran dress. Because of how the model was made (the construction of the dress) when skinned parts of the dress would deform while moving the hips or legs. To fix this, Ian (the cgi and digital tutor) helped Monika and showed her another way of constraining the dress to the legs. He also then helped identify and correct a fault in the rigging of one of the legs, which was the problem that was apparent in the skinning.
FRANCESCA
EVAN
Final Designs
After a long and tiring process we finally managed to complete our models. The design problems meant that we were very behind our original schedule, therefore modelling, rigging and skinning was quite stressful for some of us and we had to be very patient, nut nevertheless the experience was good and we have learned what mistakes we had in our models, so we can try and avoid them in the future.
BACKGROUND DESIGNS
Backgrounds
SOUND
Monika and Shannon took on the role of sound design. They initially started working from the rough sound edit taken from the internet for the first animatic, replacing the inported sounds with sounds we would create ourselves. A worry that the group had early on was how to design the voice of Fran. We knew that she should have a strong elegant voice, but we had no clue as to who should perform the voice. A though was to get a drama and theatre studies student to voice act or a back up was for Shannon to record it. In the end The group sought out a profession as this would give a more profession sounding product.
To find a professional Monika put out the following ad onto a website called Gumtree (a website that you could advertise or request just about anything.
Hello there,
We are looking for a voice artist for our animation. The film is about a competition between an opera singer 'Francesca' and the theatre cleaner 'Evan', who occidentally happens to get on stage during a performance.
That's where we need you! We are looking for a female with quite a strong voice for Francesca. The job will not be payed as it is a part of our study work, nerveless it's a great experience as we will use a proper recording studio. So if you want to gain experience of using a recording studio or already have and just want the chance to try it again. Join our production and help us out.
Waiting to hear from you.
Monika and team.
To this we ended up with 6 replies, all different types of people with different musical talents, backgrounds and experience. A few, sadly, didn't reply back to us in time so initially we only had a pick of 2.
Emma Lindsay (a stage name) was the woman we thought fit for the job. Soon we had multiple emails and meetings showing her work that we had so far and informing her of what kind of character Francesca was we also added her to our works Facebook group so that she was always updated on what was going on. She was very excited to join a production with the nature ours has (a animation directed at children) and was also quite thankful to get more in booth experience.
Emma was a joy to sit back and listen too, she amazed everyone in the room with her voice that at first we just kept asking for her to sing notes to us. It was very easy and quick to get the final recordings with Emma and all in all we took and hour and a half of her time.
To find a professional Monika put out the following ad onto a website called Gumtree (a website that you could advertise or request just about anything.
Hello there,
We are looking for a voice artist for our animation. The film is about a competition between an opera singer 'Francesca' and the theatre cleaner 'Evan', who occidentally happens to get on stage during a performance.
That's where we need you! We are looking for a female with quite a strong voice for Francesca. The job will not be payed as it is a part of our study work, nerveless it's a great experience as we will use a proper recording studio. So if you want to gain experience of using a recording studio or already have and just want the chance to try it again. Join our production and help us out.
Waiting to hear from you.
Monika and team.
To this we ended up with 6 replies, all different types of people with different musical talents, backgrounds and experience. A few, sadly, didn't reply back to us in time so initially we only had a pick of 2.
Emma Lindsay (a stage name) was the woman we thought fit for the job. Soon we had multiple emails and meetings showing her work that we had so far and informing her of what kind of character Francesca was we also added her to our works Facebook group so that she was always updated on what was going on. She was very excited to join a production with the nature ours has (a animation directed at children) and was also quite thankful to get more in booth experience.
Emma was a joy to sit back and listen too, she amazed everyone in the room with her voice that at first we just kept asking for her to sing notes to us. It was very easy and quick to get the final recordings with Emma and all in all we took and hour and a half of her time.
Joey Hawks (fellow student) helped out with the whistling for Evan. Initially we were going to ask Shannon's boyfriend Alex Rollinson to perform, but because of getting him into Bristol from where he lives we though this may be too difficult or troublesome. Joey could always be heard whistling in the hallway and was quite good at it. Thinking he was perfect for the role we requested his time which he was happy to give us for our project.
Joey ended up to be a brilliant part of the recording team and was actually more of a perfectionist than Monika and Shannon, constantly asking to re record his parts as he didn't feel like they were ever good enough. After a lot of reassurance he finally agreed on the sound files we had and everything was done in a day.
Joey ended up to be a brilliant part of the recording team and was actually more of a perfectionist than Monika and Shannon, constantly asking to re record his parts as he didn't feel like they were ever good enough. After a lot of reassurance he finally agreed on the sound files we had and everything was done in a day.
After recording the voice elements to the whole animation, the fun was just about to begin with recording the foley. The foley included everything from footsteps to clothe movements so with Shannon on the editing and Monika on the stage the project found its sound.
It was previously unknown to us how fun it would be to fling a a glove about in front of the mic or play air guitar on a cardboard tube. We did eventually get all the sounds needed (except for a few we couldnt create e.i. audiences reaction and the prop falling) but with a lot of time reliving stress by goofing around.
It was previously unknown to us how fun it would be to fling a a glove about in front of the mic or play air guitar on a cardboard tube. We did eventually get all the sounds needed (except for a few we couldnt create e.i. audiences reaction and the prop falling) but with a lot of time reliving stress by goofing around.
CHARACTER ANIMATION
TEST
Before we could actually start animating, we had to do a number of tests to ensure that the models would move properly and to check if there were any more mistakes.
With Francesca, her movements were limited as she cannot bend her arms properly because otherwise her dress and arms would fold inside which looked quite unnatural, but she has very good bouncing tips and all of the drags worked well with the fixed rigging and skinning.
With Evan, although he moved better, there were complications with his fingers as one vector was connected with the other, meaning that the connected vector would drag with it. After that was corrected, the upper body was fine, but the lower body was awkward to move because Evan's legs were quite short, so he made very small steps in his movement. Otherwise, we were quite happy with our model tests,
With Francesca, her movements were limited as she cannot bend her arms properly because otherwise her dress and arms would fold inside which looked quite unnatural, but she has very good bouncing tips and all of the drags worked well with the fixed rigging and skinning.
With Evan, although he moved better, there were complications with his fingers as one vector was connected with the other, meaning that the connected vector would drag with it. After that was corrected, the upper body was fine, but the lower body was awkward to move because Evan's legs were quite short, so he made very small steps in his movement. Otherwise, we were quite happy with our model tests,
EVAN |
FRANCESCA |
ANIMATION TEST
To try and save time in our schedule we had to split the animation job as equally as possible, so each of us had at least four shots to do at the beginning. Unfortunately, we ran into some problems with the timing and job sharing, which means Monika had to take over some of Shannon's and Giacomo's shots as Monika had done hers beforehand meaning she had time to do them.
Some of us had difficulties with the animation because of the limited model movements and the broom would often rotate out of position so would have to have been repositioned again. We did have to change some of the shots from the original storyboard as some of the shots could not be done in real time and because the models were limited.
Some of us had difficulties with the animation because of the limited model movements and the broom would often rotate out of position so would have to have been repositioned again. We did have to change some of the shots from the original storyboard as some of the shots could not be done in real time and because the models were limited.
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LIP-SYNC
Giacomo was responsible for the lip syncing of Francesca and Evan. Thanks to some work experience done alongside MA students on another project and Ian's help Giacomo was able to do the lip sync with 2D textured face and later reapplying them on the models. The challenges Giacomo faced were drawing the right amount of facial expressions, exporting the images in the right resolution and redoing Evan's eyes, changing a few details.
As for Evan's beak, Giacomo began the process on one shot, but due to limited availability of the team as some of them came back later from their break Daniel took on the beak lip sync job for the rest of the scenes. This involved using blend shapes to morph the beak to animate a whistling motion.
As for Evan's beak, Giacomo began the process on one shot, but due to limited availability of the team as some of them came back later from their break Daniel took on the beak lip sync job for the rest of the scenes. This involved using blend shapes to morph the beak to animate a whistling motion.
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LIGHTING AND CAMERA
Monika was resonsible for setting up the lighting and Daniel was responsible for setting up the camera.
In terms of the lighting, the challenges were to make the scene more dramatic and visible at the same time whilst keeping focus on the characters, but it wasn't enough just to put in the spotlights, so she had to set up lighting for each objects to ensure the props behind were not too dark nor to bright. Monika also had to make sure the beak and hat had the same light effect as the body. To do this she had to light link them together. Also, she had a minor problems with setting up a key for the light as she was doing the traditional way instead of setting up the keys in the menu.
In terms of the camera, Daniel set them up quickly without any fault or problem. The only challenge was placing it in the exact right position for when it rendered.
In terms of the lighting, the challenges were to make the scene more dramatic and visible at the same time whilst keeping focus on the characters, but it wasn't enough just to put in the spotlights, so she had to set up lighting for each objects to ensure the props behind were not too dark nor to bright. Monika also had to make sure the beak and hat had the same light effect as the body. To do this she had to light link them together. Also, she had a minor problems with setting up a key for the light as she was doing the traditional way instead of setting up the keys in the menu.
In terms of the camera, Daniel set them up quickly without any fault or problem. The only challenge was placing it in the exact right position for when it rendered.
RENDERING
Monika was responsible for rendering. Preparing for it was quick, but the actual rendering process was long as the files were huge. Nevertheless, we found out that certain shots may have been too short and needed more correction. Later on, we also found out that when Monika animated shot 3 (as she was told it wasn't done) it turned out that Giacomo had done a better version of the shot previously, so we had to re-render that scene together with the scenes that were too short.
First attempt |
Final version before After Effects |
VISUAL EFFECTS
CREDITS
Producer: Monika Lesiecka
Story by: GiacomoFilippo Fracanzani, Daniel James, Monika Lesiecka, Shannon Smith
Edited by: GiacomoFilippo Fracanzani, Monika Lesiecka
Voice Actors: Emma Lindsay as Francesca and Joey Hawks as Evan
Concept Artist: GiacomoFilippo Fracanzani, Daniel James, Monika Lesiecka, Shannon Smith
Character Design: GiacomoFilippo Fracanzani, Daniel James, Monika Lesiecka, Shannon Smith
Set Designer: Shannon Smith
Prop Designer: Shannon Smith
Storyboard: GiacomoFilippo Fracanzani and Shannon Smith
Character Modeller: GiacomoFilippo Fracanzani, Daniel James and Shannon Smith
Location and Props: Shannon Smith and Daniel James
Character Rigger: Monika Lesiecka and Shannon Smith
Shader: GiacomoFilippo Fracanzani, Daniel James and Shannon Smith
Skinning artist: Monika Lesiecka
Lighting: Monika Lesiecka
Animation Director: Shannon Smith
Animators: GiacomoFilippo Fracanzani, Daniel James, Monika Lesiecka, Shannon Smith
Render Artist: Monika Lesiecka
Comp and FX Artist: Monika Lesiecka
Sound Design: GiacomoFilippo Fracanzani, Daniel James, Monika Lesiecka, Shannon Smith
Foley Artist: Monika Lesiecka
Sound Mixer: Shannon Smith
Software: 3D Maya, Adobe CS
SPECIAL THANKS TO: Ian, Steve, Julia, Emma and Joey
Story by: GiacomoFilippo Fracanzani, Daniel James, Monika Lesiecka, Shannon Smith
Edited by: GiacomoFilippo Fracanzani, Monika Lesiecka
Voice Actors: Emma Lindsay as Francesca and Joey Hawks as Evan
Concept Artist: GiacomoFilippo Fracanzani, Daniel James, Monika Lesiecka, Shannon Smith
Character Design: GiacomoFilippo Fracanzani, Daniel James, Monika Lesiecka, Shannon Smith
Set Designer: Shannon Smith
Prop Designer: Shannon Smith
Storyboard: GiacomoFilippo Fracanzani and Shannon Smith
Character Modeller: GiacomoFilippo Fracanzani, Daniel James and Shannon Smith
Location and Props: Shannon Smith and Daniel James
Character Rigger: Monika Lesiecka and Shannon Smith
Shader: GiacomoFilippo Fracanzani, Daniel James and Shannon Smith
Skinning artist: Monika Lesiecka
Lighting: Monika Lesiecka
Animation Director: Shannon Smith
Animators: GiacomoFilippo Fracanzani, Daniel James, Monika Lesiecka, Shannon Smith
Render Artist: Monika Lesiecka
Comp and FX Artist: Monika Lesiecka
Sound Design: GiacomoFilippo Fracanzani, Daniel James, Monika Lesiecka, Shannon Smith
Foley Artist: Monika Lesiecka
Sound Mixer: Shannon Smith
Software: 3D Maya, Adobe CS
SPECIAL THANKS TO: Ian, Steve, Julia, Emma and Joey
Roles at the beginning
GiacomoFilippo Fracanzani:
-character design -storyboard artist -character Modeller -shader -animator -render artist |
Daniel James:
-character design -prop designer -animatic -character modeller -animation -postproduction |
Monika Lesiecka:
-CGI Production -character design -prop designer -rigger -shader -animator -sound designer -postproduction |
Shannon Smith:
-background; concept art -character design -storyboard artist -set design -location/prop modeller -rigger -shader -lighter -animator -sound designer |