504 #11 - Evaluation

 I had very different roles in the 504 Competition and Documentary. 

The Competition came first, which I teamed up with Ly and James to make since all three of us wanted to do the D&AD GiffGaff brief. After the previous project (503) I was quite burnt out creatively, so I offered to take the grunt work of lining and colouring and editing rather than the creative side. I used this time to learn Toon Boom Harmony properly and quite enjoyed the work. I think the final pieces we submitted were great, although I found the communication between the team lacking compared to my 503 team, but it was enough to get everything done.

For the documentary, I’d presented my idea to the class since I’d heard we were doing a documentary ahead of time and really wanted to do one on dinosaurs. I had much interest to join my project and got a team of four, of which I was in charge of collecting information, designing the dinosaurs, writing the script, animating a few scenes, and directing everyone else. Essentially the opposite of the D&AD brief.

I was very strict when it came to accuracies in the documentary, taking extra time to revise the storyboard to correct postures, movements, etc, which ultimately took time away from animation. Although the film wasn’t fully completed, I’d prefer it to be accurate.

Since I took so much pre-production work, and was intended on post-production work as well, I thought to give the last two parts of my section to Ceylin to do while I organised all the SFX and editing prep for when everything was done, however she did not have time to do them, so I ended up taking them quite spontaneously on the day before submission. I had no chance to finish it and ended up staying extremely late finishing everything up for submission.

For the next project, I think I’ll want to repeat what I did for the D&AD brief and take a creative break, do cleanup, lineart, colour/shade, or editing instead.

I am very glad Kahenya wished to join the project, as his 3D backgrounds were absolutely amazing and he kept me on regular updates as to how they were progressing, which I was very glad of.

504 #10 - Editing

 After finishing up the animation for my section of the documentary and getting finished renders for the backgrounds, I decided to figure out the best way to composite them together.

The most obvious issue was the lack of shadows cast on the ground by the dinosaurs and some of the greenery that should be in front of the dinosaurs. Since the shrubbery was the easier fix, I did that first, which was just a simple duplication of the background and cutting out the pieces that needed to be in front. 

To fix the shadows, I duplicated the animated clips and added a tint key to make it completely black. I then transformed the clip, squashing it to make it look like it was lying flat across the ground and added a small blur. I still wasn't totally happy, so I messed around with the the layer blend and changed it to soft light.

504 Documentary #9 - Concept Art, Storyboard, and Animatic

 While we waited for Pippa to finish the storyboards, Kahenya and I made up some concept art to look at perspective. Kahenya kept to greyscale whereas I added colour with some lighting.

Not long after, Pippa uploaded the storyboard sheets to our shared Drive folder, which I looked over. There were multiple parts of the board that needed correction for accuracy, like movement, posture, limb rotation, joints, and shape, so I explained on our groupchat I would make the animatic to revise inaccuracies, so the shots and cinematography would remain the same.

Because I had to revise alterations in Photoshop, I could only effectively edit with the narration rather than the entire SFX board, which was irritating, but it was better to get a base line out for narration and timing done. Although I had to ask for our narrator to re-record the final line (as the Austroraptors weren't referred to by name, which I felt was necessary), the timing ran to 92 seconds. I know for the 2nd version once I have the new line, I may have to re-edit the previous scenes to try and keep it to 90 seconds as best as I can, but so far I'm very happy with the timing.

504 Documentary #8 - Dinosaur SFX

 .:!BEST HEARD WITH HEADPHONES!:.

Something I was really looking forward to was sound mixing to create the dinosaur SFX.

Real dinosaurs did not roar like they do in Jurassic Park, they're internal ear structures from what we can see in fossils show they were suited to low frequency communication and they needed to communicate over large distances, which low frequency is better for, they had no reason to roar. 

Modern day sounds I could draw from included the Eurasian Bittern, the Cassowary, the Emu, and Elephants, all of which use low frequency sounds that are within human hearing range. I wanted each dinosaur to sound different, so I used different animals for different mixes. 

First was Carnotaurus. I already knew I wanted to use Eurasian Bittern in the mix, but I needed more to make it unique, so I listened to compilations of bird calls to find the right ones, finally landing on Cassowary to mix for low frequency and Western Capercaillie for a finishing touch of a voice croak. I was really happy how it turned out.

To create the baby version of the noise, I kept to the same Audition file, muted some of the lower/harsher frequencies, increased the pitch of the Bittern call and added pitch-shifted Pin-Tailed Snipe calls to create more a 'chirp' as some modern day species that use low frequencies tend to use higher frequencies with offspring (also it sounds cuter).

For the Abelisaurus, I used Eurasian Bittern again, but this time with the drumming sounds from Emus. In my first mix, I also had some rumbling from Asian Elephants.

I came back to the mix the next day after thinking about it that night and found the sound popping to be annoying and distinctly unnatural, so I went back in and removed the elephant sounds, which were the worst for it and cleaned up the audio a bit better.

For my first try with Neuqunosaurus, I attempted mixing some low pitch Barred Owl with echo and Black-Throated Loon, but it wasn't coming along how I wanted, so I scrapped the Loon and tried using Common Eider with low pitch and echo along with Puffin. Initially I exported it, but upon replaying, I found the clipping to be annoying and it wasn't how I wanted it, so I went back in.

My next try I scrapped the owl and the puffin and instead tried adding some Blue Whale low frequency song that was slowed down just a little and pitched down the Eider and slowed that down as well. I think it ended up being much much better.

For the final dinosaur, the Austroraptor, I had a bit more to work with as the modern day Stellar Sea Eagle is thought to be a close resemblance to what raptor dinosaurs may have sounded like, so I mixed some low frequency calls with some Western Capercaillie and Eurasian Bittern to create a mix of low frequency mumbles and beak snapping.

504 Documentary #7 - Script

 Using the timeline points I wrote before, I expanded on certain points more than others to try and keep the time down, but I decided it was better to go a bit over the time since we could cut some scenes later if needed.

504 Documentary #6 - The Other Species' Designs

 I had a list of what specific creatures I wanted to fill the world around Carnotaurus.

First was Abelisaurus, the main territory rival. Abelisaurus is a close relative of Carnotaurus, so their basic structure and hunting styles are similar, however Abelisaurus is smaller, longer and has a different skull shape. I also wanted to differentiate in colours, so I used one of the other Carnotaurus colour palette, greys for scales and blue/yellow for feathers and proto-feathers.

The pterosaur doesn't play any story role in the documentary, rather just there to populate the world, but that doesn't mean it requires any less attention to detail.

This was more of a challenge, as there is less fossil information of Late Cretaceous Argentina pterosaurs, but pieces of fossilised skull of Aerotitan was enough of a jumping off point, as large pterosaurs have a pretty uniform body structure. I added a small brightly coloured crest and eye markings for display, but the rest was informed by other pterosaur fossils. Large pterosaurs have small or non-existent tails to prevent drag, have air sacs around the body to help with breathing, and were covered with feather filaments, giving them a fuzzy appearance. 

Although this was the hardest one to research the design for, I really enjoyed drawing it and have definitely found a new appreciation for pterosaurs.

The design I wanted to spend the most time on (aside from the Carnotaurus) was the Austroraptor as small -raptor predator dinosaurs have some of the most misinformation around them that annoys me, mostly from Jurassic Park. 

The animal is mostly covered in feathers and filaments with larger feathers on the forearms and tail, and I also added some more noticeable fluff on top of the head. The hands are also pointed inwards not backwards.

For pigmentation, I looked at modern day raptors for inspiration and drew on the rusty reds, dark navy/light blues, and creams for feathers, greys for scales, and bright yellow for the iris.

Before I had chance to design the Neuquenosaurus, Pippa sent a design on the group Discord for the dinosaur, but I was severely disappointed with what she sent.

The head does not resemble the fossil skull of Sauropods (and the nostril position and size are off as well), the neck does not thicken around the base, the front right leg bends in completely the wrong direction and the wrist is on the ground when it should be on tiptoes, the back legs have the ankle joint off the ground when the bone structure is more similar to ours (with the ankle on the ground and thick amounts of muscle on both thigh and calf), the feet have a paw look to them when individual toes should be near invisible, the osteoderms on the back are pretty shapeless, and the tail is far too short and looks almost prehensile when the base has a thick amount of muscle to keep it straight to provide balance.

After the amount of research and work I did into constructing the other animals, I was really let down with this. Small inaccuracies would be forgivable, but the inaccuracies here are so glaring it makes me think that Pippa didn't even look at fossils or reconstructions when making it.

Rather than get Pippa to redesign it properly, I just took on fixing it myself as it'd be quicker. 

I moved the nostrils to the edge of the snout and changed their angle, I added more soft tissue around the head to round it better, and added some loose skin under the throat. I also thickened the base of the neck, put the leg joints in the correct places and fixed the feet (adding a single claw to the inside of the front feet, made the U shape of the footprints more obvious, and added claws to the back feet). I also added muscle correctly to the tail and straightened it out better, and also streamlined the osteoderms.

Now I had the other species, I added them to the size chart, keeping individual size charts for each fossil on hand to make sure they're accurate.

504 Documentary #5 - Character Design

 Now I had some solid colours to pick from, I started with the young adult model, as it would be the face of the character. 

I combined the sandy colours (with counter-shading for camouflage) and the blue/red feathers for display. The forearm feathers are more pointed wing shape for animating and I added tail feathers because it was one of the few areas that feathers may have been (and smaller dinosaurs like raptors had quite heavy tail feathering). I also added spinal proto-feathers as I felt it help spread the display colours across the body better. I used darker colour for natural armour and kept it around the head where much of the fighting tends to centre around and added osteoderms along the back as well, although I may end up decreasing the number. The horns have a darker colour on the outside for better blending whereas there is a brighter colour on the inside (to follow a theory on how their mating displays were performed that we are presenting in the documentary in which the inner part of the horns would be more visible).

Now I had a basis for the full grown model, I moved onto altering it for the different ages.

Adapting a theory on the Tyrannosaurus Rex (in which the adults were featherless, which we known from skin impressions, but the hatchlings/juveniles had feathering for camouflage or insulation), I added more proto-feathering along part of the head and tail and made it a darker colour to aid in counter-shading. I also made the head bigger and darkened the display feathers, creating my own developmental timeline where during puberty, the juvenile would lose some filaments along the spine (and those that remained would change to a brighter red) and the rest of the display feathers and horns would become brighter to signify sexual maturity to potential mates.

I then went back to the Young Adult model and added some scarring for the full-grown model where it would be likely there may have been attacks, around the mouth from hunting (as many prey dinosaurs had bony osteoderms on the back that could cut flesh in certain circumstances), on the neck from fighting rivals, and on the underbelly from either.

For the elder model, I added more scarring, especially around the leg that becomes permanently injured during the final fight (to emphasise how he was pretty vulnerable), I also dulled all his colours (aside from eyes) to help show his age.

Once I had all the stages that we'll use, I created a size chart. 

Now I had the design and the colours for the male, I needed a design for the female (both for mother, siblings, and mates). I decided to remove the spine filaments and make the horns smaller, but keep the forearm and tail feathers for camouflage, insulation in colder months, and to make it look bigger to dissuade rivals or predators. The biggest difference is the duller colours, which I looked at Birds-of-Paradise for, so I used dull browns and reds.

For the mother's model, I altered the shades of colours (as real life individuals will have different shades) and added a couple scars from age. 

504 Documentary #4 - Early Development

 The team got together and blocked out a timeline of the Carnotaurus' life we could use as narrative points.

The opening title would play over the main Carnotaurus hatching. 

There would then be a time skip to the juvenile Carno being kicked out of the parent's territory before he becomes a serious competitor for resources.

The Carno, now a young adult, roams around the continent, and at some point gets bullied out of a territory by an Abelisaurus or a Quilmesaurus.

The Carno gets to full size and returns to the territory, now bigger than the 'bully' predator and forces them out, leaving the Carno in charge.

A female Carnotaurus comes by, which could be a way to show how Carnotaurus would communicate (using low frequency 'mumbling' rather than roars like in films) and how it may have done mating displays.

Timeskip again to show the Carno now older, a bit slower, possibly have some healed over injuries that still slow it a bit, and a new, younger Carnotaurus fights him for the territory. This could show how the horns were used for shoving matches. The Carno is left severely injured.

The Carno, now being older, weaker, and injured, finally dies and is eaten by the smaller dinosaurs. I also made note this could happen in a marshy area or in a lake, as we could have the credit sequence over footage of the Carnotaurus holotype MACN-CH 894 on display in Bernardino Rivadavia Museum of Natural Science in Argentina.

While we worked on the narrative, I really wanted to explore colours, so I used Scott Hartman's reconstructive outline as a base and coloured over it to look at where it could go.

Model A uses lighter colours for the main scales (with countershading) to camouflage easier and uses blues and greens for display.

Model B uses much darker colours with darker back scales and osteoderms (inspired from the Harpy eagle) and no proper countershading. The display colours are blue and yellow (I also tried green out for horn colours but obviously we can pick and choose colours from different models).

Model C uses dark colours as well with lighter back scales and osteoderms and white face markings inspired from tropical parrots, which may have helped confuse the eyes of prey and be used for display. The feather colours are red and blue.

504 Competition #5 - Final Ad

 The final scene, the box turning to a letter, was much easier to finish up with colouring as it was much more simplistic. Then it was simply editing.

Now Ly had uploaded the v/o work to our Google Drive, I went back in to fix all the editing so it lined up properly with the lines. Some of the sections had to be extended to keep the lines relevant to animation, but overall I'm happy with how the editing turned out.

504 Documentary #3 Research; Carnotaurus Design and Visual Development

 After building up the pool of dinosaurs to draw from for the ecology, I moved on to modern inspirations for the look of the Carnotaurus itself.

The single Carnotaurus holotype is exceptionally well preserved, and included skin impressions showing it was either mostly or entirely covered in scales around 5mm in size with osteroderm armour. Some areas, however are theorised to be locations for feather (or proro-feather filament) coverage if it had any, including the back of the forearms, along the spine or tip of back, and the end of the tail. There is also a theory that the horns of the Carnotaurus were used for display rather than fighting (since the neck vertebrae suggest it didn't headbutt, it more likely would use them for shoving if it was for fighting), so I noted them being coloured a little more brightly.

The first place I started collecting ideas from were birds of prey. They have more muted, natural colours to assist in camouflage and areas of display tend to be either easily hidden (as with the Harpy eagle) or out of sight of prey (as with the Secretary bird).

I then moved to tropical birds and birds-of-paradise. They have much brighter colours used for display, bright reds and blues seem most prominent with greens and yellows appearing frequently. Some tropical birds will also have white and black markings on the face.

I also got a few images of Iguana and Crocodilian skin to show the distribution and patterns of osteroderms.

I also have 'The Paleoartist's Handbook' by Mark Witton, which has a section at the end crediting several artists in the field. Using that, I found four artists to use for visual development.

Dr Mark Witton, the author of the book, is a paleobiologist and paleoartist currently teaching in the University of Portsmouth. He has a very realistic style and likes to paint non-action scenes, especially avoiding fight scenes as he's noted that the idea of dinosaurs being big scary monsters is a massive misconception, they were simply animals, and animals conserve as much energy as they can.

Emily Willoughby is a biologist and paleoartist who usually focuses on microraptors and uses a realistic style with soft light and focus on feathered subjects.

Johan Egerkrans is a Swedish concept artist who has a much more cartoony and expressive style, which is more immediately useful to us as animation is obviously far easier with expression and simpler lining and colours.

Raven Amos is a paleoartist in Alaska who uses bold lineart and simple, block colours rather than intricate shading. She also imitates some cultural styles for her work, like the swimming Spinosaurus, inspired by ancient Japanese art styles.

504 Competition #5 - Third Scenes

 It didn't take me too long to finish up the sketched scene James had given me before he'd done the opening shot, since I was half done with them.

This lot of scenes were more difficult, however, as the colours had a gradient on the money and there wasn't any sketch of what should be on the computer screen, so I had to design it myself. I put down some simple rounded rectangles as phones on a website in different colours, but it looked pretty bland. To give it a bit more visual interest, I added some bubbly patterns in darker or lighter colours (depending on the shade of the base colour) at the bottom of the phones.

It was a bit more time consuming to animate the screen squashing to the side as the box rotates around.

504 Documentary #2 - Research; World-Building

 Since I know more about dinosaurs to begin with and understand where to look, I took on researching to create a pool of other dinosaurs from South America dated to the Late Cretaceous that the team can draw on later.

The first place I started was the La Colonia Formation, where the only Carnotaurus fossil was found. Not a great deal was there, but some fossil pieces had been identified as abelisaurid and hadrosaurid in nature. I moved on to looking through other rock formations in Argentina.

I was able to collect a number of identified species. 

Abelisaurus was a very close relative of Carnotaurus, but smaller, so I noted it down as possibly being a predator to a young Carno or a rival predator to a young adult or juvenile Carno.

Noasaurus was a close relative of Abelisaurids, but much smaller. Although very few fossils have been found, it's currently been reconstructed based on its other relatives, theorised to eat fish. It could possibly be a world-building species to help populate the environment.

Neuquenosaurus was a small sauropod, which I noted as a possible prey source for the Carno from a young age.

Saltasaurus was a type of Titanosaur known from fossilised osteoderms and nesting sites, showing it was heavily armoured. It's a little bigger than a full grown Carno, so it could be a dramatic fight between prey and predator or possibly to use in parallelism, a young Carno trying and failing to eat one but when he reaches full size he takes one down to establish he is at his peak strength.

Antarctosaurus is another type of Titanosaur, although a controversial type as so little has been found of it, it's debated as to whether it exists or the fossils were an already known species. Since it's size massively outshines any predators of the time period or place, only the young or dying would be likely prey, so if it is included, it will most likely be used to establish the scale of the world.

Secernosaurus was a hadrosaurid. At it's full size, it was slightly bigger than Carnotaurus, so younger specimens may serve as prey, but other than that can help populate the world.

I specifically started searching for pterosaurs, as I wanted something to populate the skies, however there isn't a great deal of fossil pterosaurs in Argentina. I was able to find two dated to the Late Cretaceous, Aerotitan and Argentinadraco, however both have so little fossil remains, constructing a whole, accurate model is pretty much impossible. Phylogeny could be used to help create a semi-accurate look that could at least stand up until more evidence is found. I expanded my search a bit further north, finding the Caiuajara, which has much better fossil evidence showing a more interesting skull structure. However, it did live further north and it's habitat is arid desert, so I noted it could possibly be used in a 'wandering' section of the narrative when the Carno is searching for viable territory.

Quilmesaurus was another relative of Carnotaurus, but much smaller than even Abelisaurus, so I noted that it could possibly be a predator to the Carno in it's infancy.

Unenlagia was possibly the same creature as Neuquenraptor, and Austroraptor were smaller than even a full grown human, so I noted they could be used early on to show the scale of Carnotaurus and build up an 'untouchable predator' visual, then later scavenge the dead Carno as the cycle of life and death in nature - no matter the size and strength of even the toughest predator, everything falls prey to something else in the end.

502 #4 Competition - Completion

 To colour the animation was very quick, as the range of motion was extremely limited and as I don't have much experience in painting backgrounds (although I tried), I opted to have no background or shading.

504 Competition #4 - Second Scenes

 James worked on the opening shot completely while I lined and coloured the phone-cash section. Once he added that to our collective Google Drive, I re-edited the animation, trying to help time everything properly so it keeps to the original animatic, as we don't have the v/o yet (which would need the animation re-editing anyway, but keeping it to the animation would make that easier later down the track).

504 Documentary #1 - Team and Concepts

 Since I'd already explained my topic of interest in the class, I asked on the class groupchat if anyone wanted to work with me on it. I actually got a bit of interest and got a team of four, myself, Ceylin, Kahenya, and Pippa.

We are doing a documentary on the Carnotaurus, a theropod dinosaur predator from the Late Cretaceous found in Argentina. Although it may not have been a great choice, since there is only one holotype specimen, so little is known about it, but it is a personal favourite of mine.

Since I'd suggested the idea (and dinosaurs are a special interest of mine) everyone was on board with me directing and Pippa took on producing.

We started hashing out some basic ideas. We want to do 2D animation with 3D backgrounds and possibly some 3D models for the dinosaurs to help with perspective. The documentary as well will follow a Planet Earth or Walking With Dinosaurs formula, with focus on one creature to create emotional engagement with the audience.

502 #4 - Marketing

 

PERSONAL:

My personal strengths I'd say were my creativity and imagination, something I like to brand 'smortness' as in not academically smart but full of general trivia that can be weirdly helpful in life, and my honesty, which I've been told is good for shopping trips as I won't lie if clothing doesn't suit my companion.

My personal weaknesses are mostly my impulsiveness, which can be dangerous sometimes (like stepping out onto the road instead of waiting), my time management, which leads to a lot of last minute rushing, my motivation, which can be present for ages then suddenly disappear for weeks, and my lack of concentration which makes lectures very difficult to get through.

The weakness are influenced by my only real personal threat, my ADHD, so I didn't see what kind of personal opportunities I had other than possible a psychiatrist with a relevant prescription.

INTERPERSONAL:

My interpersonal strengths I'd say were my generally flexible and relaxed attitude to life, which ends up with me becoming the Therapist Friend in most friendships.

My weaknesses are my struggles with understanding social rules and etiquette, which I find increasingly confusing and frustrating, my difficulty in talking to people outside of a work setting, which makes making non-work friends tricky, and my obsession with dinosaurs which can end up dominating a conversation and takes personal restraint to stop talking about.

My opportunities for making friendships are both uni and a series of animation projects I'm involved in online.

The threats I'd say were mostly myself and significant social change, like going from high school to college, college to uni, and inevitably, uni to job, and job to job.

TECHNICAL:

My technical strengths is my software adaptability, as I know the fundamental of most programs and can quickly learn within a day or so from online tutorials.

My weaknesses are most definitely my struggle with 3D rigging and tech art, which I find endlessly confusing.

My opportunities are my access to multiple programs I get with uni for free, like the Adobe suite, Maya, and the ones I get cheaper like TVPaint and Toon Boom, I also have some networking opportunities with visiting professionals.

I wouldn't say there are any 'threats' outside of the weaknesses.

ARTISTIC:

My strengths are definitely my understanding of animal anatomy that I can adapt for designing monsters or realistically proportioned mythical creatures, and my adaptability to other people's styles in animation.

My weaknesses are realism, which I keep meaning to take courses on but never seem to actually do, landscape artwork/backgrounds, which I do some single tutorials on specific scenes that I can reproduce later on, and my knowledge on human anatomy/perspective, which makes designing human characters difficult.

My opportunities are the 11 Second Club for short animation practices, the D&AD competition, which could help with money, and an online project to create fan episodes of The Owl House called Animation Coven that gives me ways to practice any aspect of production I want (so far I've done backgrounds and storyboards for the project).

The only threat is competitors for the competitions, but I use them for practice more anyway.

504 Competition #3 - First Scenes

 James sketched and lined the second 'scene', which I proceeded to colour basing it off the colour/design boards, also by James;

It wasn't timed completely the same as the animatic, but we were planning on re-timing it in editing anyway, so I put together an updated animatic with the sections we'd finished and left blank space where the animatic kept going to remind me what needed to be re-timed later.

502 #3 Competition - Lining

 This took the longest of the animation, as much of the line layer was new animation with the underlying sketch being a keyframe guide.

504 Competition #2 - Script and Animatic

 Since I have more experience writing scripts, I took to cleaning up the plot outline and putting it in a script format. I made some minor alterations to the original plot outline.

After we ran through some demo v/o work to test the script, we realised what we had would be much longer than 20 seconds, so I went back and altered the script again. You can see what parts were changed because of the slightly different font.

While I edited aspects of the script, Ly worked on creating a coloured animatic with music to give a visual.

502 #2 Competition - Sketching

 I wanted to use this competition to practice my lipsyncing skills, so whole body movement was limited to focus on that instead.

For the sketch layer, I added the body movement and some of the lipsyncing. To save time, the sketch had mostly only keyframes, as inbetweens could be added in the lineart instead, so the sketch isn't as smooth as it will be by its completion.

502 #3 Social Media

 After multiple lectures from both employability week and the course, I reviewed all my professional social media (I didn't touch any of my personal since all are kept private) and changed some parts of each.

I created a new profile picture and banner for all my socials to replace my old one, which was overly complicated for an online profile, so the new one has a simple coloured sketch of myself in my usual clothes with a background of a mountain scene I drew a while back.

I also edited together a new banner to include my favourite pieces of art that I felt showed my strongest areas in art, my space backgrounds and my dinosaur reconstructions.

Although I use Instagram more, among my professional accounts, I use Twitter more, so I altered that first. I uploaded the new profile and banner pictures, updated the age from 19 to 20 and added 'Writer | Creative' to the career line.

I've been using LinkedIn more and more recently, so I went to update that next. I only updated the profile picture and banner, however, as I was happy with the tagline and About section already.

Next on my list was my professional Instagram account, which I updated the profile picture and added 'Animation student at LAU'

The last of my professional social media pages is my ArtStation, which I updated the profile and banner pictures and changed the tagline to 'Animator, Writer, Creative, Dinosaur Nerd' to match my other social media tags.

504 Competition #1 - Early Ideas and Team

 I formed a team with Ly Major and James Kaye to complete the D&AD GiffGaff brief. 

Early on in our concept brainstorm, we decided to take inspiration from Golden Wolf Studio and have the advert be a single object morphing to follow a visual narrative (with v/o narration as well). We listed the key points in the brief and noted some narrative ideas

James created a moodboard to get an idea for style, colours, fonts, and logos.

James also created a plot outline so we had some ideas of narration and visuals