Metamicah

This weekend I work on the smoke clearing in scene 2.  Eventually it will reveal the character with his head in his hands, massaging his head as if he has a major headache. There were some successes and failures. Success: - I think there are parts where the smoke looks fluid and the timing is right, very slow. - The colors and the blur effect are working well Challenges: -Smoke is hard! especially a room full of smoke dissipating. I don't think I approached it in the most efficient manner, live and learn. Parts of it move too fast and are a little twitchy for my taste.  But I am happy enough with the result to move on for now. Here is a link to the beginning of the scene:  https://vimeo.com/433805867   password: super I've also recorded some reference to get started on the character animation I'm finding it easier to get my timing or beats with sound, rather than trying to time it out with a stopwatch, it feels more organic.  I always end up changing the timing anyways once

     I've been at this film for at least 6 months. It started as question, what really intrigues me about animation? I decided that it was the ability of animation to break all the rules of film-making. The magic that happens when a characters face explodes into the epitome of exasperation a la Tex Avery or the  fleshy wizardry of Bill Plympton's, "Your Face" leave me wide eyed.  One essential element that flows through these examples, and many more like them, is the ability to morph characters and elements as one pleases.  Instead of flesh and blood, animation deals with line and color, giving it a freedom not found in many other film mediums.  I don't think it's too cavalier to say animation is the only medium where this is possible.    When starting an animated film, an appropriate question to ask yourself is: why animation?  The answer for me is it's flexibility.  There are no constraints, imagination and creativity rule.  My thesis film is an exp