Dragon Bait and Animate

After our presentations last Wednesday, I got a lot of feedback about how my project was going to look, something I have been trying to build on for months. I've finally decided that I want to take the project into Unity to be able to use real time rendering and add that as something I can do. However, as for the actual look of the project, it needs revisited. Initially, I had planned to do everything in shades of grey, with a few colour exceptions here and there but after some feedback, it's obvious that just using grey makes the project look unfinished and as if it has just been pulled straight out of Maya. TRON was mentioned during the feedback so I looked into how both the original and modern TRON rendered a computer world.     I particularly like how the accents of light and the layers of the costumes are build around the form of the actor. As such I'd like to try and take this idea into my character, using the topology of the model as a base for any co

On Monday we had a chat with Mark Grindle again, having met him first in October. We all went through out projects and he helped focus our ideas before we begin final production. Cure has been a little stagnant since we started the Going Live projects but it has always been in the back of my mind. I've looked into scene set up and even mocked up a rough poster. However, after running through the idea with Mark I think it's clear that I need to strip it back even further. I want to keep the core of the story and the themes of mental health and depression. Mark seemed to really like the idea of a fragmented world and the idea of shifting from chaos through to order so I want to take that idea further.  Our character should begin in a fragmented world, chaotic and in constant motion but when she finds her 'cure' the world stops and settles but nothing changes: She has still lost parts of herself (I might remove the piles of dead polygons) and the world is still

With the Beano project almost finished (just tidying up some loose ends and sorting through sounds) I realised I hadn't uploaded the final kitchen scene here. The kitchen was modelled in Maya and rendered with Maya Software using a Toon Shader with a little noise to help break up the flatness. I threw in a couple of little 'Easter Eggs' that will probably go unnoticed in the background. The 2D Art of Ping and Noodle belongs to Anna Nilson Axenstig