Beetle

During the process Beetle degraded from the main character in the first scenario to only a stand-in-the-way bit player in the final version.
That is what time can do to a character.
Beetle v1 Beetle v2 Beetle v3

Storyboard cycle 2

For the second cycle I added three scenes. The scene where Greyhound reaches the top of Col de Sac and starts his descent. I combined this scene with the scene where he is gaining speed so now it makes more sence that he crashes so hard that he dies. (Sorry for this spoiler). Before Greyhound breaths his last breath he gets a Freudian vision of himself cycling into a illuminated cave.

I also let his toungue flap between the spokes of his front wheel before it entangles in it.

Camera’s and sharp vector graphics in After Effects

Why dupplicate the whole composition and scale up all layers if you need a close up of a scene, while you can do it whith a camera that is only one extra layer and tweak it to the square pixel? Camera’s in After Effects can save you a lot of work. But there are some things that you need to keep in mind. Especialy when you work with vector graphics like I do.

In this example I need a wide shot of Greyhound cycling uphill and after a second a close up of his gently swinging ballocs.
I put two camera layers in place and turn on the 3D option in all the layers.

Screenshot After Effects

You cn move the camera in xyz directions and see the result when you use a 2 view layout.  But as you can see the 100% zoom of the camera doesn’t give a sharp image.

Screenshot After Effects

Greyhound is a vector graphic so I do want a sharp image. The trick is turning on the option Continiously Rasterize for al the layers. And you need to do it recursively: also in the composition that contains the vector layers.

After Effects screenshot

But hey, where is his penis gone!?

After Effects Screenshot

I put all of Greyhound’s animation in a composition, so I can easily make him pass by. And it seems that I accidentaly forgot to turn on the 3D option of the penis layer in the composition greyhound_animated.

After Effects screenshot

Voila a super sharp close up.

After Effects screenshot

So if you work with vector graphics and 3D camera’s. Turn on 3D Layer and Continiously Rasterize in  all vector layers and also within compositions.

N.B: It’s important that you place your camera’s when you finished all of your animations. When you have layers in 3D there are more Transformations (X,Y,Z scale, rotation and orientation) so less overview in your layer. But even more important: setting up a rig in DuIK (extention for Inverse Kinematics) doesn’t work on 3D layers.

 

Release 1

The first cycle of animation. I agilely worked out the three most relevant scenes :
scene 1 – the introduction of Greyhound
scene 2 – the introduction of Lady
scene 14 – the double accident

These three scenes already form a very short story, although the plot is a little bit abrupt. Lady’s emotions for instance develop from a little desperate to furious in just a second.

 

First cycle storyboard

I’m testing if the Scrum framework works for animation.
That’s why I devided the production of my  animation into three cycles. In each cycle I choose the most important scenes from my scenario. These scenes together suppose to tell a lean, though readable version of te story.

The scenes I’ve chosen are scene 1 that introduces Greyhound, scene 3 that introduces Lady and scene 14 where Greyhound meets Lady in an accident.

Lady

Lady looks like a decent lady and she is. Because of the hot wather she wears her best red dotted summer dress.
But in this film Lady is a little bit frustrated because she’s missing her glasses.
You can read her expression by her eyebrows.