But when it comes to preparing them for files and articulating what needs to be done for every shot - overlays, foreground, midground, all that fun stuff - she had all the information. I had never done backgrounds at the scope of a production Of course, I can just open up and draw a background. She had some industry experience already when she came and helped with the film. She was there to help us oversee our backgrounds production process, to help supervise it and give us notes. We also had a good friend of mine, Jess McGinnis, who is currently a background painter at Nickelodeon. It was so helpful! I learned a lot from her about backgrounds. I was the one who passed and approved everything, but if I saw something in a background that needed plussing or just needed help, she would do that for me. She would help me oversee all the backgrounds and give notes. We had Zoe Marson-Parkinson, a co-producer but also our background lead. I would also put notes in the Harmony file before the artist even got it, and brief them on their shot. What I would do is make sure all the frames, the audio and the storyboard was there. Every shot in the film is its own Harmony file. And she helped me set up Toon Boom Harmony files. She organized all of our production scheduling documents, Excel sheets, and was the one who chased people down in DMs. So much of why this film got done and looks so good because Birgit is such a good artist. It just kept evolving and she was an assistant director by the end, which was awesome. Then Birgit Uhlig, known as Pollovy on Twitter, volunteered to help storyboard. Julia: I created the film and directed it. Who collaborated on this project, and what were their roles? A raggedy little cat named Pipi goes on a dangerous quest to rescue the Cat Kingdom’s princess after she is suddenly kidnapped by a horrifying beast.
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