Design and Production of an Episodic Online Animation: Cairns of Apeiron

Total Page:16

File Type:pdf, Size:1020Kb

Design and Production of an Episodic Online Animation: Cairns of Apeiron University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2017 Design and Production of an Episodic Online Animation: Cairns of Apeiron Andrew Cadieux University of Central Florida Part of the Film Production Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Cadieux, Andrew, "Design and Production of an Episodic Online Animation: Cairns of Apeiron" (2017). Electronic Theses and Dissertations, 2004-2019. 5649. https://stars.library.ucf.edu/etd/5649 DESIGN AND PRODUCTION OF AN EPISODIC ONLINE ANIMATION: CAIRNS OF APEIRON by ANDREW RICHARD CADIEUX B.F.A. University of Central Florida, 2011 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Fine Arts in Entrepreneurial Digital Cinema in the School of Visual Arts and Design in the Department of Film in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Fall Term 2017 © 2017 Andrew R. Cadieux ii ABSTRACT This paper describes the development of a feature length script and an independent episodic animation to be distributed online. The goal is to show that appealing animation can be achieved using digital tools, a limited animation workflow, few artists and a strict micro-production budget. I will detail the methods of animation used for the project and describe plans for its distribution to an online audience, including a market analysis and business plan. iii TABLE OF CONTENTS LIST OF FIGURES .............................................................................................................................. vii LIST OF TABLES ............................................................................................................................... viii CHAPTER ONE: FILMMAKER’S STATEMENT ........................................................................... 1 CHAPTER TWO: EVIDENCE OF AESTHETIC LITERACY .................................................... 3 Industrial Animation ..................................................................................................................................... 3 The Sum of All Parts .................................................................................................................................... 4 Limited Animation ........................................................................................................................................ 6 Inspiration and Influences for Cairns ......................................................................................................... 9 Post-Modern Japanese Animation and New Technology .................................................................... 9 Conclusion .................................................................................................................................................... 13 CHAPTER THREE: EVIDENCE OF PRODUCTION LITERACY ...................................... 15 Script Production ........................................................................................................................................ 15 Animation ..................................................................................................................................................... 15 Character Animation ................................................................................................................................. 16 Rendering “Locations” ............................................................................................................................... 18 Sound ............................................................................................................................................................. 20 Music .............................................................................................................................................................. 20 Voice .............................................................................................................................................................. 20 Influence ........................................................................................................................................................ 21 CHAPTER FOUR: EVIDENCE OF FINANCIAL LITERACY AND BUSINESS PLAN ..... 23 Information and Risk Statement .............................................................................................................. 23 For Information Only ............................................................................................................................ 23 iv Risk Factors ............................................................................................................................................. 24 Executive Summary .................................................................................................................................... 25 Introductory Statement ........................................................................................................................ 25 Management Team ................................................................................................................................. 26 Product Description .............................................................................................................................. 26 Industry Overview ................................................................................................................................. 26 Market Analysis and Marketing Strategy ........................................................................................... 27 Funding ..................................................................................................................................................... 27 Company Description ................................................................................................................................ 27 Company Details .................................................................................................................................... 27 Product Description ................................................................................................................................... 28 Synopsis .................................................................................................................................................... 28 Project Details ........................................................................................................................................ 29 Industry Overview ...................................................................................................................................... 30 Successful Business Model ................................................................................................................... 31 Why Cairns of Apeiron Is Different ...................................................................................................... 32 Market Analysis and Market Strategy ..................................................................................................... 33 Internet Distribution ............................................................................................................................. 33 General Marketing Strategy ................................................................................................................. 36 Target Audience ..................................................................................................................................... 37 Distribution of Web Content ............................................................................................................. 39 Financing ........................................................................................................................................................ 41 Method of Financing .............................................................................................................................. 41 Donations ................................................................................................................................................ 42 Financing Through Website and Distributed Episodes ................................................................. 42 Copyleft and Sita Sings the blues .......................................................................................................... 45 v CHAPTER FIVE: RETROSPECTIVE AND CONCLUSION ................................................... 50 Early Development of Cairns of Apeiron ................................................................................................. 50 APPENDIX A: SCRIPT .................................................................................................................... 56 APPENDIX B: EPISODE BREAKDOWNS AND SUMMARIES ........................................... 128 Episode 1 ................................................................................................................................................ 129 Episode 2 ...............................................................................................................................................
Recommended publications
  • Librologie 8 : Les Petits Cœurs De Tatie Nina
    Librologie 8 : Les petits cœurs de tatie Nina Bonjour à vous, courageux public du Framablog ! Avec l’épisode d’aujourd’hui et le prochain, qui concluera cette première partie de saison Librologique, je vous propose d’ébaucher le portrait de deux personnalités importantes du monde Libre, parfois complémentaires, parfois opposées. Contrairement à Linus Torvalds ou Richard Stallman avec qui nous avions ouvert ces chroniques, il ne s’agit pas là de programmeurs ni de techniciens, mais d’auteurs : de ces auteurs qui réfléchissent sur leur propre droit — puisque le droit d’auteur, c’est bien conçu pour… les auteurs, non ? (Comment ça, « rien compris » ?) V. Villenave. Librologie 8 : Les petits cœurs de tatie Nina « En 1988, à l’âge tendre de 20 ans, je quittai ma ville natale de Urbana, Illinois, pour Santa Cruz en Californie, afin d’y poursuivre le rêve naïf de devenir hippie, new-age et ésotérique. Au lieu de quoi je suis devenue illustratrice et cynique. » C’est ainsi que Nina Paley raconte son histoire, de la banlieue de Chicago (Urbana, dont son père a été un maire courageux) à la Californie — le choix de Santa Cruz n’est pas innocent : indissociable des bouleversements sociaux des années 1960-1970, cette ville correspond bien à l’arrière-plan idéologique de la « Nouvelle Gauche » de cette époque, effectivement liée au mouvement hippie, mais également à l’avènement d’une conception nouvelle des sciences humaines (sociologie, psychiatrie alternative,…). Avec toutefois une tournure moins optimiste dans le cas de Paley : par exemple, elle revendique son choix de ne pas faire d’enfants comme un choix militant ; membre revendiquée duMouvement pour l’Extinction Volontaire de l’Espèce Humaine, sa principale préoccupation politique (tout au moins dans la période 1995-2005) semble être la surpopulation humaine.
    [Show full text]
  • UPA : Redesigning Animation
    This document is downloaded from DR‑NTU (https://dr.ntu.edu.sg) Nanyang Technological University, Singapore. UPA : redesigning animation Bottini, Cinzia 2016 Bottini, C. (2016). UPA : redesigning animation. Doctoral thesis, Nanyang Technological University, Singapore. https://hdl.handle.net/10356/69065 https://doi.org/10.32657/10356/69065 Downloaded on 05 Oct 2021 20:18:45 SGT UPA: REDESIGNING ANIMATION CINZIA BOTTINI SCHOOL OF ART, DESIGN AND MEDIA 2016 UPA: REDESIGNING ANIMATION CINZIA BOTTINI School of Art, Design and Media A thesis submitted to the Nanyang Technological University in partial fulfillment of the requirement for the degree of Doctor of Philosophy 2016 “Art does not reproduce the visible; rather, it makes visible.” Paul Klee, “Creative Credo” Acknowledgments When I started my doctoral studies, I could never have imagined what a formative learning experience it would be, both professionally and personally. I owe many people a debt of gratitude for all their help throughout this long journey. I deeply thank my supervisor, Professor Heitor Capuzzo; my cosupervisor, Giannalberto Bendazzi; and Professor Vibeke Sorensen, chair of the School of Art, Design and Media at Nanyang Technological University, Singapore for showing sincere compassion and offering unwavering moral support during a personally difficult stage of this Ph.D. I am also grateful for all their suggestions, critiques and observations that guided me in this research project, as well as their dedication and patience. My gratitude goes to Tee Bosustow, who graciously
    [Show full text]
  • Motion Enriching Using Humanoide Captured Motions
    MASTER THESIS: MOTION ENRICHING USING HUMANOIDE CAPTURED MOTIONS STUDENT: SINAN MUTLU ADVISOR : A NTONIO SUSÌN SÀNCHEZ SEPTEMBER, 8TH 2010 COURSE: MASTER IN COMPUTING LSI DEPERTMANT POLYTECNIC UNIVERSITY OF CATALUNYA 1 Abstract Animated humanoid characters are a delight to watch. Nowadays they are extensively used in simulators. In military applications animated characters are used for training soldiers, in medical they are used for studying to detect the problems in the joints of a patient, moreover they can be used for instructing people for an event(such as weather forecasts or giving a lecture in virtual environment). In addition to these environments computer games and 3D animation movies are taking the benefit of animated characters to be more realistic. For all of these mediums motion capture data has a great impact because of its speed and robustness and the ability to capture various motions. Motion capture method can be reused to blend various motion styles. Furthermore we can generate more motions from a single motion data by processing each joint data individually if a motion is cyclic. If the motion is cyclic it is highly probable that each joint is defined by combinations of different signals. On the other hand, irrespective of method selected, creating animation by hand is a time consuming and costly process for people who are working in the art side. For these reasons we can use the databases which are open to everyone such as Computer Graphics Laboratory of Carnegie Mellon University. Creating a new motion from scratch by hand by using some spatial tools (such as 3DS Max, Maya, Natural Motion Endorphin or Blender) or by reusing motion captured data has some difficulties.
    [Show full text]
  • Animation: Types
    Animation: Animation is a dynamic medium in which images or objects are manipulated to appear as moving images. In traditional animation, images are drawn or painted by hand on transparent celluloid sheets to be photographed and exhibited on film. Today most animations are made with computer generated (CGI). Commonly the effect of animation is achieved by a rapid succession of sequential images that minimally differ from each other. Apart from short films, feature films, animated gifs and other media dedicated to the display moving images, animation is also heavily used for video games, motion graphics and special effects. The history of animation started long before the development of cinematography. Humans have probably attempted to depict motion as far back as the Paleolithic period. Shadow play and the magic lantern offered popular shows with moving images as the result of manipulation by hand and/or some minor mechanics Computer animation has become popular since toy story (1995), the first feature-length animated film completely made using this technique. Types: Traditional animation (also called cel animation or hand-drawn animation) was the process used for most animated films of the 20th century. The individual frames of a traditionally animated film are photographs of drawings, first drawn on paper. To create the illusion of movement, each drawing differs slightly from the one before it. The animators' drawings are traced or photocopied onto transparent acetate sheets called cels which are filled in with paints in assigned colors or tones on the side opposite the line drawings. The completed character cels are photographed one-by-one against a painted background by rostrum camera onto motion picture film.
    [Show full text]
  • Automated Staging for Virtual Cinematography Amaury Louarn, Marc Christie, Fabrice Lamarche
    Automated Staging for Virtual Cinematography Amaury Louarn, Marc Christie, Fabrice Lamarche To cite this version: Amaury Louarn, Marc Christie, Fabrice Lamarche. Automated Staging for Virtual Cinematography. MIG 2018 - 11th annual conference on Motion, Interaction and Games, Nov 2018, Limassol, Cyprus. pp.1-10, 10.1145/3274247.3274500. hal-01883808 HAL Id: hal-01883808 https://hal.inria.fr/hal-01883808 Submitted on 28 Sep 2018 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Automated Staging for Virtual Cinematography Amaury Louarn Marc Christie Fabrice Lamarche IRISA / INRIA IRISA / INRIA IRISA / INRIA Rennes, France Rennes, France Rennes, France [email protected] [email protected] [email protected] Scene 1: Camera 1, CU on George front screencenter and Marty 3/4 backright screenleft. George and Marty are in chair and near bar. (a) Scene specification (b) Automated placement of camera and characters (c) Resulting shot enforcing the scene specification Figure 1: Automated staging for a simple scene, from a high-level language specification (a) to the resulting shot (c). Our system places both actors and camera in the scene. Three constraints are displayed in (b): Close-up on George (green), George seen from the front (blue), and George screencenter, Marty screenleft (red).
    [Show full text]
  • Reallusion Premieres Iclone 1.52 - New Technology for Independent Machinima
    For Immediate Release Reallusion Premieres iClone 1.52 - New Technology for Independent Machinima New York City - November 1st, 2006 – Reallusion, official Academy of Machinima Arts and Sciences’ Machinima Festival partner hits the red carpet with the iClone powered Best Visual Design nominee, “Reich and Roll”, an iClone film festival feature created by Scintilla Films, Italy. iClone™ is the 3D real-time filmmaking engine featuring complete tools for character animation, scene building, and movie directing. Leap from brainstorm to screen with advanced animation and visual effects for 3D characters, animated short-films, Machinima, or simulated training. The technology of storytelling evolves with iClone. Real-time visual effects, character interaction, and cameras all animate in with vivid quality providing storytellers instant visualization into their world. Stefano Di Carli, Director of ‘Reich and Roll’ says, “Each day I find new tricks in iClone. It's really an incredible new way of filmmaking. So Reallusion is not just hypin' a product. What you promise on the site is true. You can do movies!” Machinima is a rising genre in independent filmmaking providing storytellers with technology to bring their films to screen excluding high production costs or additional studio staff. iClone launches independent filmmakers and studios alike into a production power pack of animation tools designed to simplify character creation, facial animation, and scene production for 3D films. “iClone Independent filmmakers can commercially produce Machinima guaranteeing that the movies you make are the movies you own and may distribute or sell,” said John Martin II, Director of Product Marketing of Reallusion. “iClone’s freedom for filmmakers who desire to own and market their films supports the new real-time independent filmmaking spirit and the rise of directors who seek new technologies for the future of film.” iClone Studio 1.52 sets the stage delivering accessible directing tools to develop and debut films with speed.
    [Show full text]
  • Facial Animation: Overview and Some Recent Papers
    Facial animation: overview and some recent papers Benjamin Schroeder January 25, 2008 Outline Iʼll start with an overview of facial animation and its history; along the way Iʼll discuss some common approaches. After that Iʼll talk about some notable recent papers and finally offer a few thoughts about the future. 1 Defining the problem 2 Historical highlights 3 Some recent papers 4 Thoughts on the future Defining the problem Weʼll take facial animation to be the process of turning a characterʼs speech and emotional state into facial poses and motion. (This might extend to motion of the whole head.) Included here is the problem of modeling the form and articulation of an expressive head. There are some related topics that we wonʼt consider today. Autonomous characters require behavioral models to determine what they might feel or say. Hand and body gestures are often used alongside facial animation. Faithful animation of hair and rendering of skin can greatly enhance the animation of a face. Defining the problem This is a tightly defined problem, but solving it is difficult. We are intimately aware of how human faces should look, and sensitive to subtleties in the form and motion. Lip and mouth shapes donʼt correspond to individual sounds, but are context-dependent. These are further affected by the emotions of the speaker and by the language being spoken. Many different parts of the face and head work together to convey meaning. Facial anatomy is both structurally and physically complex: there are many layers of different kinds of material (skin, fat, muscle, bones). Defining the problem Here are some sub-questions to consider.
    [Show full text]
  • The Significance of Anime As a Novel Animation Form, Referencing Selected Works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii
    The significance of anime as a novel animation form, referencing selected works by Hayao Miyazaki, Satoshi Kon and Mamoru Oshii Ywain Tomos submitted for the degree of Doctor of Philosophy Aberystwyth University Department of Theatre, Film and Television Studies, September 2013 DECLARATION This work has not previously been accepted in substance for any degree and is not being concurrently submitted in candidature for any degree. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 1 This dissertation is the result of my own independent work/investigation, except where otherwise stated. Other sources are acknowledged explicit references. A bibliography is appended. Signed………………………………………………………(candidate) Date …………………………………………………. STATEMENT 2 I hereby give consent for my dissertation, if accepted, to be available for photocopying and for inter-library loan, and for the title and summary to be made available to outside organisations. Signed………………………………………………………(candidate) Date …………………………………………………. 2 Acknowledgements I would to take this opportunity to sincerely thank my supervisors, Elin Haf Gruffydd Jones and Dr Dafydd Sills-Jones for all their help and support during this research study. Thanks are also due to my colleagues in the Department of Theatre, Film and Television Studies, Aberystwyth University for their friendship during my time at Aberystwyth. I would also like to thank Prof Josephine Berndt and Dr Sheuo Gan, Kyoto Seiko University, Kyoto for their valuable insights during my visit in 2011. In addition, I would like to express my thanks to the Coleg Cenedlaethol for the scholarship and the opportunity to develop research skills in the Welsh language. Finally I would like to thank my wife Tomoko for her support, patience and tolerance over the last four years – diolch o’r galon Tomoko, ありがとう 智子.
    [Show full text]
  • The Uses of Animation 1
    The Uses of Animation 1 1 The Uses of Animation ANIMATION Animation is the process of making the illusion of motion and change by means of the rapid display of a sequence of static images that minimally differ from each other. The illusion—as in motion pictures in general—is thought to rely on the phi phenomenon. Animators are artists who specialize in the creation of animation. Animation can be recorded with either analogue media, a flip book, motion picture film, video tape,digital media, including formats with animated GIF, Flash animation and digital video. To display animation, a digital camera, computer, or projector are used along with new technologies that are produced. Animation creation methods include the traditional animation creation method and those involving stop motion animation of two and three-dimensional objects, paper cutouts, puppets and clay figures. Images are displayed in a rapid succession, usually 24, 25, 30, or 60 frames per second. THE MOST COMMON USES OF ANIMATION Cartoons The most common use of animation, and perhaps the origin of it, is cartoons. Cartoons appear all the time on television and the cinema and can be used for entertainment, advertising, 2 Aspects of Animation: Steps to Learn Animated Cartoons presentations and many more applications that are only limited by the imagination of the designer. The most important factor about making cartoons on a computer is reusability and flexibility. The system that will actually do the animation needs to be such that all the actions that are going to be performed can be repeated easily, without much fuss from the side of the animator.
    [Show full text]
  • Librologie 8 : Les Petits Cœurs De Tatie Nina
    Librologie 8 : Les petits cœurs de tatie Nina Bonjour à vous, courageux public du Framablog ! Avec l’épisode d’aujourd’hui et le prochain, qui concluera cette première partie de saison Librologique, je vous propose d’ébaucher le portrait de deux personnalités importantes du monde Libre, parfois complémentaires, parfois opposées. Contrairement à Linus Torvalds ou Richard Stallman avec qui nous avions ouvert ces chroniques, il ne s’agit pas là de programmeurs ni de techniciens, mais d’auteurs : de ces auteurs qui réfléchissent sur leur propre droit — puisque le droit d’auteur, c’est bien conçu pour… les auteurs, non ? (Comment ça, « rien compris » ?) V. Villenave. Librologie 8 : Les petits cœurs de tatie Nina « En 1988, à l’âge tendre de 20 ans, je quittai ma ville natale de Urbana, Illinois, pour Santa Cruz en Californie, afin d’y poursuivre le rêve naïf de devenir hippie, new-age et ésotérique. Au lieu de quoi je suis devenue illustratrice et cynique. » C’est ainsi que Nina Paley raconte son histoire, de la banlieue de Chicago (Urbana, dont son père a été un maire courageux) à la Californie — le choix de Santa Cruz n’est pas innocent : indissociable des bouleversements sociaux des années 1960-1970, cette ville correspond bien à l’arrière-plan idéologique de la « Nouvelle Gauche » de cette époque, effectivement liée au mouvement hippie, mais également à l’avènement d’une conception nouvelle des sciences humaines (sociologie, psychiatrie alternative,…). Avec toutefois une tournure moins optimiste dans le cas de Paley : par exemple, elle revendique son choix de ne pas faire d’enfants comme un choix militant ; membre revendiquée duMouvement pour l’Extinction Volontaire de l’Espèce Humaine, sa principale préoccupation politique (tout au moins dans la période 1995-2005) semble être la surpopulation humaine.
    [Show full text]
  • Palestine News 2009 Spring
    spring09 palestine NEWS 1 £1.50 / €2.00 ISSN 1477-5808 Spring 2009 INSIDE: War crimes Paul Adrian Raymond page 4 Elections and peace George Joffe page 10 The Lancet on Palestine Victoria Brittain page 16 The world unites Viva Palestina! Gill Swain for Palestine page 16 Palestine Solidarity Campaign Box BM PSA London WC1N 3XX tel 020 7700 6192 email [email protected] web www.palestinecampaign.org 2 palestine NEWS spring09 Contents 3 Did they die in vain? What will be the legacy of the 1400 killed in Gaza? asks Gill Swain 4 War crimes — the charge sheet Paul Adrian Raymond catalogues the evidence for the charge of war crimes 6 Wanted: the political and military leadership of Israel International efforts to investigate war crimes and bring perpetrators to justice 7 IDF soldiers speak out Soldiers returning from Gaza confess what they did — and buy the T-shirts 8 Israel’s real heroes Military refuseniks who would not serve in Gaza 9 Arming Israel — the UK’s role Megan Clay-Jones investigates the UK firms involved in the arms trade with Israel Cover photo montage: Protest marches from around the world 10 Elections and peace ISSN 1477 - 5808 George Joffe examines the outcome of elections in the US and Israel and what they mean for peace 12 Violent suppression of peaceful protests Many injured, arrested as Israel steals more Palestinian land Also in this issue... The 10th Palestine Film Festival 13 ‘They call me number 59’ page 30 Ethnic cleansing in Jerusalem 14 Continuing siege compounds the suffering Gill Swain looks at the ongoing
    [Show full text]
  • Jobs and Education
    Vol. 3 Issue 3 JuneJune1998 1998 J OBS AND E DUCATION ¥ Animation on the Internet ¥ Glenn VilppuÕs Life Drawing ¥ CanadaÕs Golden Age? ¥ Below the Radar WHO IS JARED? Plus: Jerry BeckÕs Essential Library, ASIFA and Festivals TABLE OF CONTENTS JUNE 1998 VOL.3 NO.3 4 Editor’s Notebook It’s the drawing stupid! 6 Letters: [email protected] 7 Dig This! 1001 Nights: An Animation Symphony EDUCATION & TRAINING 8 The Essential Animation Reference Library Animation historian Jerry Beck describes the ideal library of “essential” books on animation. 10 Whose Golden Age?: Canadian Animation In The 1990s Art vs. industry and the future of the independent filmmaker: Chris Robinson investigates this tricky bal- ance in the current Canadian animation climate. 15 Here’s A How de do Diary: March The first installment of Barry Purves’ production diary as he chronicles producing a series of animated shorts for Channel 4. An Animation World Magazine exclusive. 20 Survey: It Takes Three to Tango Through a series of pointed questions we take a look at the relationship between educators, industry representatives and students. School profiles are included. 1998 33 What’s In Your LunchBox? Kellie-Bea Rainey tests out Animation Toolworks’ Video LunchBox, an innovative frame-grabbing tool for animators, students, seven year-olds and potato farmers alike! INTERNETINTERNET ANIMATIONANIMATION 38 Who The Heck is Jared? Well, do you know? Wendy Jackson introduces us to this very funny little yellow fellow. 39 Below The Digital Radar Kit Laybourne muses about the evolution of independent animation and looks “below the radar” for the growth of new emerging domains of digital animation.
    [Show full text]