Final Animation

Above is our final animation. You can now view it online Live at BBC Radio 4 at this link:

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This was one of my first animation live briefs, because of this I was able to get some very valuable experience. For instance interacting with client feedback, pitching to clients and collaborating. I am overall really happy with our animation, there are things I would have improved if I had more time. I would have liked to spend time polishing off some of my shots adding more in betweens and spending more time adding more lighting. However we had a really short deadline andI am really happy with the end piece.

When we was first given this brief I considered working on my own however me and Alice felt as we are lucky to live together we could create something with each other. We started the process by looking through the scripts. As each script was 15 minutes long and there was around 7 it took us two hours to read it once. However we slowly narrowed down our inspiration of the wind witches. This folklore really spoke to us and we felt we could portray some beautiful illustrations. We both wanted to do frame by frame animation, for this we had to search for plug ins and also brushes. We brought some brushes online and found a very amazing plug in for Photoshop. One of the good things I felt about this project was the fact we had to get all the preproduction development out of the way quite early. As a lover for the this stage of production it was good to give my self a time limit so we could work on the creation of the piece.

Pitching and Feedback from Clients – Because we were working on a live brief we were giving the opportunity to pitch in front of the clients twice as well as getting feedback. I was nervous to pitch but when we were actually doing it I felt confident. We were able to practice the pitch and that made me feel better. The feedback we got was to sort out the ending music so it dosen’t stop so suddenly, luckily we realised our music was meant to last longer so it was a quick change. I realised they weren’t as scary as I thought.

Collaboration – This unit is dedicated to collaboration. I have been able to collaborate with Alice, James the “music man” and 2 sound students. Overall working with Alice has been really good it is the first time either of us worked together on an animation together. We really worked together well, feeding ideas of each other and sharing an equal amount of work. We were honest with things we wanted to change or improve as well as praising to each other. We hung lots of schedules to our wall and used pintrest to create visual inspiration. It was the first time I had ever worked with music or sound. We were lucky enough to be approached by two sound students who said they would both like to work on the animation. Further to the point they said whoever didn’t get chosen would still work on the sound so they could put it on there showreel. This meant me and Alice would have to send feedback to two separate sound students. In a way it was really good experience because we had to takes on our piece, but we had to right what we wanted to change and why. One of the sound students put us in contact with a music student at Ravensbourne. We set up a meeting with the music student and was able to discuss ideas. Me and Alice made the decision to send out info packs with visual inspiration, deadlines, moodboard and suggestions.

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Above are some stills from the shots I worked on 🙂

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BBC Radio 4 featured us on 4 Stories where they put exceptional readings and dramas! We were thrilled with this!
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Article on the BBC Radio 4 about our piece.

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Put on there Facebook page, it was such satisfaction to see people sharing it and liking the animation! So rewarding 😉

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Above are some screen shots from people retweeting our work. Again it was an amazing feeling to see people retweeting our animation! A lot of people interested in paganisim and folklore have been sharing our work which has been really fantastic to see!

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BBC Project- The wind witch


Collaboration Project for BBC

Chosen Script: Storm 

This brief looks really exciting as it lets us work on a live brief which if chosen by the BBC will receive exposure on the BBC4 Radio website. I think choosing this brief will push me to work under a tight deadline, work with sound and music and work with such an established client as the BBC.

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BBC Brief

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The scripts we were given were really beautiful and that was without visuals! As well as being a live brief has asked for us to work in collaboration. I did initially think of working independently but I came to the decision to work with Alice as this is something which we may consider doing after leaving uni. As well as working with Alice we will be hopefully be working with the Music student/s at Ravensbourne.

We took a lot of time reading through the scripts and digesting the information. We sat down for a while and worked through the sections we felt we could visualise the best. After much deliberation and several spider diagrams( They really do help!) We decided upon doing the storm script. In the script there is a passage which talks about a Wind witch. And this is where our idea has come from.
First mind map after reading all of the scripts. I was the blue pencil Alice was orange. You can see the dots which showed the favourite stories. Below are two mind maps the top one is Alice’s and the bottom one is mine. We used the above ideas to come up with quick ideas.

As you can see we spent a long time before we began drawing, choosing the idea. The narrative and story was the most important thing. We feel strongly that without a clear story it would not work. At this point we was stuck between two ideas for the storm script so we took the time to thumbnail between Samuel Coleridge and the Wind witches.
Thumbnail sheet for a potential Samuel Coleridge Animation. I created these thumbnails using ink and water. I wanted to have very powerful shots for this dramatic script.
Thumbnails for the wind witch sheet. Some early ideas such as wind following her hair. Herself splashing into the still water to create the storm and living in the top of a tree.
Samuel Coleridge thumbnail sheet, I wanted to follow the idea of Coleridge running into the street gaining power from the storm. Some of my ideas included a giant made out of storm cloud lingering over Coleridge.
Wind Witch thumbnail sheet, some ideas of working celtic design into the hair.


Developing the concepts for the story – Like I said we spent the longest time coming up with the story. Infact it was really important for us to make something which was easy to follow for the demographic and also something which educates the viewers about British Folklore. We decided the wind witch was the best story to go with as we would felt really passionate for the story. Here is how we broke some of the ideas down into four topics.
Timetable me and Alice created in order to organise our planning, as this stage we wanted to wait till after the BBC pitch to organise the production planning although we made a rough plan.



British Superstitions – Promoting British Folklore

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Once we chose our script we did more research into the British folklore. The line from the script we were inspired by the line mentioned in the script above. I began to do some research of my own. Looking into British superstitions that have been passed down or recorded. I know that the BBC are very careful in ensuring all there information/Facts are correct. In order to represent the BBC I have made sure to note all sources and ensure that the sources are qualitative!

“With knot of one, my spell begun
With knot of two, my words speak true
With knot of three, I will it be
With knot of four, this power I store
With knot of five, this spell contrive
With knot of six, this spell I fix
With knot of seven, twixt earth and heaven
With knot of eight, is willed by fate
With knot of nine, these powers are mine
As I will so mote it be”

I found these wood blocks which were really beautiful, but showed how witches were represented. I thought the witches would be old but in this illustration the witch looks strong.
In this illustration you can see the sailor with the three knots from the witch. Alice discovered some research about the the three knots.

Witches gave, or sometimes sold, these magic knots to sailors to help them experience safe voyages (see Ligature). The release of one knot brought a gentle, southwesterly wind; two knots, a strong north wind; and three knots, a tempest.”

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I discovered articles which showed that withes were often blamed for changes in weather, wind specifically insinuated a witches present. I also did research into how a witches was identified. They were said to have a servant, such as a cat or a crow. They were also said to transform into hares. It was little facts like these which we wanted to some how merge into our animation.
I also found a book in the studyzone about witchcraft, it was said witches were actually young and were in convents a small group. The more research I found the more it fuelled my work.

Above you can see a poster from Boscastle at the witchcraft museum in Cornwall. On the right is a photograph of my sister at the same spot! You can see in the poster the witch handing over to the fisherman a rope with three knots. Showing the presence of this folklore in English folklore.

Filmic Reference

A little princess (1995) is absolutely stunning in cinematography but more than that it demonstrates a beautiful representation of weather. Each shot shows how weather can create a sense of atmosphere. How the wind pushes you forwards how snow can make you feel carefree. How rain can make you feel downtrodden and sun reminded us of freedom. I hope to be able to create shots that evoke such emotion.

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How Disney represented the Wind.

Pocahontas and the wind.

Pocahontas is one of my favourite Disney films. The beauty in it is wonderful. If you look above you can see the artistry that went into the film. Also you may notice how each shot has the common theme of the wind. One of the challenges that I may need to overcome is representing the wind. How can you draw something which is invisible to the eye and needs to be felt to be believed in? Pocahontas hair really helps with the illusion of the wind as well as using leaves to create an illusion of the blustery day. The charcoal animation is so poignant and you feel like you are one with the wind.

Winnie the Pooh and the Blustery day!

One of the terms for the brief is that we need to include text at some point. Below you can see how text has been included into the shot and really works! I really love how the character plays with it it really is playful and impacts the whole mood of the piece. The words aren’t really meant to be readable as there is a voiceover so it isn’t functional. 

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Another trick that has been used in the above example is weight. We can see how tiny piglet is swept away in the blustery winds where as Pooh is able to wrestle with it because well, pooh seems to eat one pot of honey to many… Weight is a very important principle when representing the wind.


Ponyo created by Studio Ghibli has beautiful examples of storm, the weather in the piece is so stunning. It evokes these familiarity to being in the same situation, being in a car and watching raindrops, being caught in the wind. I also used Ponyo to see how Ghibli tackled the sea. The top gif is spectacular and shows this enormity of the scene. These scenes really helped me to consider how I would animate the sea. The filmic language is magical and is something to be praised.


The Wickerman

The 1973 Wickerman is a really good film that tackles pagan and folklore in a community. In this specific film you can see the eerie ness from the the subtle cues. There are some lovely impacting shots in this film. I don’t want the piece to be as sinister but I do like the understanding of this communities culture.



Poldark – BBC Inspiration

Poldark is a good reference point as it is set in Cornwall and based around the similar time to our piece. What is nice to see is how the camera angles were used without over powering the scene keeping it simple. Letting the scene breathe this is something I need to consider. It is a period drama which really uses the beautiful Landscapes to create cinematic shots which are a joy to watch. A lot of the shots are simple and focuses on the character and the interaction.



This was another BBC Programme which retells the story of Jamaica Inn which was set in Cornwall. There is a large amount of shipwrecks and cornwall referenced. If you look below you can see those british colour tones. There are some really lovely shots in this series, that are atmospheric. Like Poldark this period drama is set around the time we are making our animation so it is really good to see how others interpreted the time period. It was also really good to see the costumes.


Beautiful wide  shots.


Analysing Colour

Analysing Colour in British painters and illustrators.
Beatrix Potter is a British national treasure, her stories and illustrations are captivating. What makes the illustration so enchanting? One of the aspects is the beautiful colour choice. With natural tones of green and browns dotted with bursts of colours such as berry reds or sky blues. Furthermore they have this sense of british summer colours. Earthy with flecks of sunshine peeking in. Muddy and subtle. Furthermore Beatrix Potter is turning 150 this year so mentioning this in the Pitch could be a good way to go!



Gif from 1992 Beatrix Potter animated series (Really good!)

Happy 150th Beatrix Potter!!

 Style Moodboards


I have always admired Eyvind Earle from his beautiful work on Sleeping beauty to his breathtaking landscape art. Me and Alice both agreed on using Earle as an inspiration for this piece. I like how there are elements of simplicity yet it is also dotted with intricate design in other aspects. The contrast works really well.


Above is another moodboard of styles which will inspired us when it comes to the animation. I want there to be a real dedication to making beautiful backgrounds and representing the weather in a poetic way.

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Me and Alice also used Pintrest in order to “pin” our inspirations. We used a joint pinboard”. This means we can simply pin anything which strikes us, this in turn compiles into a giant board where we can refer back to. It really is a fantastic tool! You can see Vincent Van Gogh has been pinned quite a lot we both loved the fluidity of his painting.

Developing the Wind Witch

Initial Moodboard of witch, we had several ideas which we wanted to add such as having a seafull servant because according to some source a way to identify a witch was whether she had an animal servant. We also were considering having lots and lots of windchimes all over a forest area.

Character Synopsis


Some early character development, this character did evolve slightly but we used all these characteristics in the final animation.

Chosen name: Moria

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We decided to name our witch Moria, this isn’t really important to the story as no one sees her but it is interesting to


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Another Pintrest board for some reference when designing the character, as you can see we used Poldark as some inspiration for clothing.
Some of my character designs. I actually really liked these characters, however with the time limit we had having more complex characters would add time to our production so in the end we went with a simpler character.
Some older characters “As ancient as the wind”. I wanted to explore an older character, but in the end we didn’t want to make the character stereotypically haggard or old. A lot of our research showed young women were just as likely a witch. It would also shake off the idea of a disney witch which are conventially old and haggard.

One of my personal inspirations was Kim Novak, specifically those powerful eyebrows!
Alice Created this piece of early character concepts.
Some more of my character design. I played around with the wind trailing out of her hair. I was looking at quite dark haired people.
My character designs – Using charcoal I played around with some character faces, don’t like these character feel they aren’t as strong as they could be.
Alice created this – I love the watercolour painting she created perhaps we could get some brushes in photoshop that imitate this beautiful style.
Alice created this, she identified the heads  she liked.
Alice created this -She drew up the top 4 designs including some of my own bottom left.
Quickly developing hair.
Top head designs Alice, number 4 was my design in the end we went with the first set.
My hair designs. Playing with the motion of hair in the wind.
Alice created this body shape concept page, I really liked a plumper figure. As we chose Alice’s design for the character, she created several character sheets while i worked on the environment designs.
Developing the character personality. Me and Alice came together to think of how we would like the personality of our character to be. We wanted her to have distinctive features. Here are a range of ideas we had. We had a fun conversation when Alice wanted her to remain a good witch but I wanted to have the witch more evil. We was able to come together and circle the aspects we liked. Consequently below you can see the sheet we made.
Deciding character’s name.

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Above are some concept sheets Alice created for the Character I used these when Animating to insure the character was consistent.

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We tried to film and photograph ways in which the witch could move, we wanted her movements to be animal like and strong. Here you can see us trying to capture the poses we were able to sketch from these images after.


Costume Design

Me and Alice used Pintrest to collate ideas, after this we sketched out our ideas and then came together to work off and decide.

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I used Pintrest to compile several ideas for costume. Some of our main reference points was Poldark as it had the same setting time and place.

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Some of the first watercolours I did.
The cloak on the end was inspired by a folklore I discovered that witches were able to transform into Hares.I kept with the Mossy green colour tones.


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Above is a mixture of Alice and mine’s work, you can see how they all work together because we used the same inspirations and bounced of each other’s work.

Final Character Design


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Here is the final character with the colour palette and outline colour. Having this was really useful, we were able to keep our colours consistent. I am overall really happy with how the character came out. We used hare’s as an inspiration point. If you see below the shape of the face from the side and the large ears were all inspired by the folklore that witches could transform into hares according to british folklore. I like that we decided not to have an old witch but rather a more unique looking character. I am happy with the final costume as the outer skirt  can be blown in the wind. The colour palette really matches the look we were going for!

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Background Art

We decided on Alice’s character design, I helped decide the body shape but while Alice finished developing this character I did some background art. Below are some of the designs and thumbnails I created.

We wanted the animation to be set in Cornwall as this is one of the places the wind witches were mentioned when doing our research. We also felt there was a lot of celtic history and already existing magical atmosphere in Cornwall that it would be a perfect basis. Furthermore we are frequent visitors to Cornwall so we had a lot of images to use.


Above are all our photos that we have taken whilst in Cornwall. We used these in developing the backgrounds as well as other sources. I especially used them to note types of plants any rocks and colour tone.
Colour tests,inking and pastels.
My sketchbook page, playing on celtic, playful forms.
I used a lot of imagery to inspire these, looking at cornwall and british images. I tried to playing with complex illustrations and more simpler.
Creating really flowly lines was something I was testing at this stage.
Roughly working out the shipwreck scene.
After alot of development we tried to focus on narrowing the story down.
Alice did these pages above to also develop the backgrounds.

Above are some more photographs I took when I went to Bath. The colours from these photograph were more inspirations as well as the twisty looking trees. This gave me a first hand view of the distinctive English countryside.

Watercolour concept art.
Concept branches I water coloured.
Trying to integrate some celtic patterns into the pieces.

Thumb nailing and Storyboarding

The story to me and Alice was always the most important aspect. We took a long time planning a simple but well paced story that had a beginning, middle and end. Below is the development of the different stories we came up with. We had the fact about the rope and the witch but we wanted to deliver in a way which was exciting to watch. We created around 15 different versions of the story, we experimented and took the time to pace the piece. We created sheets to print off and work on, one for storyboard and the second for concept.
My thumb nailing.
Some of Alice’s thumb nailing.
Another version of the wind witches, this focused on watching the witch slowly walk collecting the wind as she made it to the top and then suddenly untying the rope to create a storm. The things I liked here was when the witch walked past the rope would pass.
Alice did the above.
Alice did this one. i loved the end shot of the giant clouds and the little figure something which we later took into our final piece.
Rough final me and alice did together. You can see how hetic it is and the crazy sketches as we were literally drawing at the same time.
Alice’s thumbnails.
Some of my thumbnails.
Some of my thumbnails.
Final ROUGH Storyboard – The important thing to remember is that we sat side by side while we did all the thumbnails so we were able to feed of each others ideas and thoughts. The above is the final rough storyboard. Below is the first animatic we made using the thumbnails from above. It was to understand the pacing, flow and timing. 
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We finalised this storyboard here. We worked together to create it, we wanted to ink it in the same way I did the ones at the beginning, we scanned this storyboard in, blew it up, printed it and hung it on our wall so we could develop.

Clearer Photograph of Final Storyboard with where the type will be.

Final Animatic, Music and Sound.

After doing the storyboard we spent some time creating the animatic. At this stage we also got in contact with two sound students who both decided they would like to work with us. They said they would both work on the piece even if one wasn’t chosen. This meant we were essentially given updates and suggestions to two separate people. This really helped me organise my time and become constructive in my comments. It also got me thinking more about what to suggest to sound. As well as sound we worked with a music student at Ravensbourne. We had a meeting with and was able to input ideas as well as been given ideas. After this meeting we set up an info pack for all three students. 

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Me and Alice created these info packs after the pitch so that the sound people were aware of deadlines, briefs, technical specs, the animatic but also giving them visual reference so that they can be inspired. By doing this the sound and music would have everything they needed, this would hopefully avoid any misunderstanding.

The Pitch


On April 18th we had the pitch the BBC. In order to prepare for this we created a presentation which we showed the BBC at the BBC Old building. We created a slides presentation, showing some of the preproduction, the research, the market research and animatic. Below are some of the slides we presented. 

After the pitch we handed out a rope tied into three celtic knots with a contact information to the BBC. This was Abigail’s tip and was really well received and definitely something I will continue to do whenever  I pitch again.


After the preproduction stages we began to start some animation tests and bring the concepts to life. We divided out shots out as well to get the workflow going.

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When considering what typeface to use I looked into the development of typeface specifically in the time period when our animation is set. Baskerville was one of my favourite typefaces here, created in 1757 it is a very legible typeface.
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Some of the other typefaces which I was considering was Gill Sans and Franklin Gothic. Baskerville is a british typeface, still wildly use in online and print it is legible and evokes the same sense of time as the animation.  Gill Sans is considered the British Helvetica made much later in the 1920s. But it is a really legible type. Franklin Gothic is a gothic sans which is clear, however it is an American typeface and I really wanted the whole animation to denote British history so choosing Gills or Baskerville could be the way forward.
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My favourite typeface that Alice agreed with was Baskerville semibold italic. it has atmosphere, is British, created at the same time as the animation is set and clear.


Me and Alice made the decision to use Photoshop to animate and After effects to composite. A lot of people were surprised we were going to use photoshop only to create the piece. But we really wanted to use the photoshop brushes. It was my first time animating in photoshop, so we had to learn the workflow.

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The main reason why we wanted to do it in photoshop was because we found a Plug in  that we downloaded. The plug in really improved animating in photoshop.The above is a print screen of all these buttons.
Me and Alice knew we wanted to have a hand drawn look so we brought photoshop brushes to use in our work. We had to come together in order to work out what brushes was going to be used in the animation. This was a sheet I did to working out which brushes I liked the best. The brushes we ended up using for the main areas was “Amazing Cartoon nib” (outline) oil jotter, and the watercolour brushes. We did add some details with other brushes.
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Onion skin was very useful for quick animating.
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This is what many of my files looked like and it goes up further. I used colour to colour code it to keep it tidy.

Animation Tests

Once getting the plug in we played about with some tests. How was we going to animate certain things? Was we going to illustrate backgrounds and animate on top or illustrate digitally. These were some of the questions we had to decide. In the end we decided to draw everything digitally.


Grass test
Testing digital animation over hand painted backgrounds.
Wind test – I tried to do several tests to see how the wind was created, we ran out of time and I wish I could have longer to work on this but I am still happy with the way it turned out.
Tree concept art. I didn’t like the colour here, brown a bit to harsh maybe lighten?
Tree concept art. Here is some illustrations which I developed to made as concept art. I really like the illustrative patterns, this is defiantly something I want to carry through to the final shot. I like the colours of this shot more than the one above.
Tree Concept art. I love the moody skies over head, this is another piece of concept art for my first shot.
Designing some foliage.I experimented with the brushes we decided on to create some bushes and grass concept art.
I wasn’t sure what the waves would look like here is some concept art I did to envision the way I could animate the sea.
Concepts using the brushes we chose.

After doing these tests me and Alice divided the shots. We did still help each other out at points, such as Alice illustrating a background and me helping colour in with her shots. But below were the main ones I worked on for the production.

Here are some thumbnail sketches I did for several of the shots, doing these sketches help me confirm composition and play with form further.


Developing the storm

I decided to work on this shot first as I felt it needed to be powerful. I used my sketchbook to create several thumbnails and ideas for how I wanted this scene to look. These impacted the final design.




Below are some of the animation tests to consider how I was going to animate this massive storm after designing. The way the clouds moved and paced the scene was an important aspect to consider.



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I really liked the heticness of this animation test and I ended up going with something like this. It was inspired by Constables rapid brushstrokes.
Quick test of putting Celtic designs.
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Alice’s test.
Concept art of the piece.
Animating the small character.
Here you can see the shot in working progress.
Final Shot. This shot was created by layering different techniques and elements. I animated the grass in the foreground and the character in the wind. This was to give the illusion of powerful gusts. I added an overlay pattern on top of the clouds to give it some movement. I wish I could have played around further with the clouds but I had to move on to other shots due to the time restrictions.


Developing the shipwreck scene

I had never animated a sea before, so to begin with I watched reference. I created the below concept art to figure how I was going to go about creating.

Shipwreck moodboards – I love the composition and the power of these storms. I needed to really consider how they did this so I could put it into my shots.
On this page of sketches I did some early ideas for sea design.
Biro concept sketch. At this point I did not know how I was going to animate the sea. I experimented breaking the waves into separate forms.
I took some time doing some Sea Concept art. This meant I could take into consideration composition. The way the water flowed. But still giving that celtic touch. I used the watercolour brush for the water which accidentally led me to the above drawing.
Concept art – Creating more of a chaotic piece of concept art. I created this piece of concept art to give it a slightly darker feeling. This piece was the piece I wanted to try to recreate for the shot.
Sea concept – Using the paintbrush for the natural flow of water.
Before animating I sketched out the  “motion of the ocean.”. I didn’t want to get confused with the direction of the ways. I sketched out the key frames of the waves and in the red arrows the direction of the water and the clashes. Below you can see the different stages of the animating with the useful arrows!


When it came to creating the ship I did some research on British ships in the 1700s. One of the most famous of these ships was the HMS Victory. This was a battle ship, but It is a very important ship in naval history in Britain. I used this ship as a starting point for my designs.

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Final ship design, full sails.
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3/4 angle of the ship, sails down.
Here is the finish shot. I added certain elements at the end of animating. Such as the ripples in the water, detail to the waves such as the lines and froth at the tip of the waves.

Developing the cliff scene

The BBC asked for one shot complete, so me and alice worked on this scene together. Below are three watercolour illustrations we made together. We played around witch colour and composition.

Here you can see some sketches for the cliff scene, this was testing the composition and to see which would be most effective. We ended up choosing the bottom left.
Concept art me and alice painted together
Watercolour concept art to work out colour, composition. Me and Alice did these together.

Here is the final shot, I really like this shot, I like the slight animation in the cloud and the rustling of the clothes which Fionn matched perfectly in sound.


Here is a gif from my development stage. Showing the beginning of my animating, I haven’t timed it I wasn’t putting in rough keyframes. What I love about this shot is the colour tones. I animated the cloud ever so slightly in the background to give the shot some depth.


Developing “the third” shot

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Alice’s concept art – Alice created this piece of concept art during the pre-production stages. I used it as a basis to begin animating. The face ended up changing slightly but I am happy that the feel of the piece was replicated by the end of the shot.
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Working in progress (below and above) Here you can see me using the plug in and animation on Photoshop. This scene required different elements, such as face animation, hair, rain and lighting effects. We wanted this to be a facial reaction so we chose not to have any movement on the body.

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I spent a really long time on this shot, specifically animating and colouring the hair. We added lighting and shadows to make it more sinister.  This was one of my favourite shots to work on and I spent so long on the hair!
Animating the rain, rough facial animation to follow.
Before I animated the face, the whole shot was 5 seconds long at 25 frames per second I had to to animate 125 frames of hair.
Final Shot – This is the final shot I am overall really happy with how it came out, I spent a really long time perfecting the hair in the wind. I love the lightning that strikes light on her face.

Walking through the forest

We filmed reference of animal like walking at uni and we wanted to use this short to show her animal like tendency.

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Here are some of my ideas for this shot, I didn’t get to finish off this shot to the standard I wanted I wanted to have veins going roung the tree in celtic patterns which you can see at the bottom. I used one of these thumbnails for the environment design.

This shot was quite short, below you can see how I blocked out the shot.tree02

I experimented with having the character walk in more like an animal but when we put this in to test the pacing, it felt a bit too quick. We preferred the slow walk instead.
I tried to get round this by sketching out a slower walk.


I’m not happy with the shot, it is my least favourite I wish I had more time to work on this shot. But it was a really tight deadline and I am happy with it as a whole. (If I did have time this would be the shot I would rework. However it is one of the shortest shots so I had to make the decision to work on other shots that needed my attention.

I filmed reference for this shot and then sketched out the key poses. As I wanted the hand to be really quick almost out of the blue it didn’t have too many in-betweens. I did the rain to begin with, I wanted the rain to begin to stop at this point.

I neatened this up and added shadow and rain drops onto the hand. I wanted to add these little details to give the shot a bit more interest, because it didn’t really have much background apart from a moving clouds. I am happy with this shot overall.

First shot

The first shot would introduce the titles but was ultimatly a long camera track down the forest to reveal the witch from behind. This meant it needed to be interesting and a long illustration. Below is a sketch for the shot I created. You can see that it is a sort of L shape because the character gets up and walks through the forest. We was going to have the camera track again but when we played about with it it didn’t work that well with the pacing.


Playing further with how I was going to detail the branches and also the tree shapes.
Here was the original sketch from the animatic, I really liked this layout and ended up using it as a basis for the final one. You can see how it worked as one long tracking shot.
I added to this shot layer by adding such details as the log.
I contemplated having another track shot where we see the witch make her way through the forest however when we tested this it moved a bit fast, so we decided to make it slower paced and decided against the track.
Start of concept art I didn’t get round to finishing, playing about with flowly branches.
Final Shot -I am overall really happy with the final shot, I wish I had more time as I didn’t get to finish animating this scene, I wanted to animate the girl slightly and put foreground foliage. But as the shot has quite a lot already in it it worked out still successful!


Here is concept art of the first shot that I did, I loved the sky in this piece so I tried to recreate it for my final piece.
Here is the beginning shot I animated, we wanted this to be the title as we felt it would introduce the piece really nicely. The moody skies was based on the concept art I made for the piece. I had to rush the tree animation so I wish I had some more time for this section.
The BBC asked us to create an end DOG in the style of the piece Alice created this piece to fit with the style of our work. We faded in the original logo to have a short merge that was soft soft and eerie matching to the story.
Alice and me scanned in our storyboard and copied it bigger to put in our room. As we went on we marked what we worked on, percentages and ticking when you had started to work on the shots. It was satisfaction to be able to cross all these beauties off!

Below you can see the final storyboard with the finished shots for comparison. You can see that we kept to our storyboard and animatic. When we spoke to James the music man he told us when he worked with animation students previously they constantly changed the timing. Therefore we were determined to keep to our timing of the animatic and storyboard, which we did!


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