COVID: AntiVax Breakdown

This is another example of how I break apart a painting for animation. I wanted to animate the two arms pointing so I separated them from the body. I liked how the parallax worked on the people so I imported them into Volumax Pro and worked on making them dimensional separate from the background. I made the background dimensional in a separate pass and then composited them together in After Effects.

Animation on the pointing arms was completed using the pin tool in After Effects. I was rather timid using this tool at first but now I am embracing it as a way to add simple and subtle animation to the paintings. I placed a pin at each joint and moved those pins for each key frame. I found that if I turned off all other programs on my computer I could watch the animation play back in real time. I therefor spent plenty of time refining the animation until it felt just right. Fire and smoke were animated the same way. Now that I know I can play back the animation as I am working on it, I might go back and refine other scenes that could use more work.

I got my first rejection from my 20 or so submissions to film festivals. The film will not be shown at the Global Peace Film Festival here in Orlando. I didn’t think the film was a right fit at first, but a board member of the festival insisted that I submit it. My film clearly does not promote world peace. If anything it is battling a collective world amnesia and denial. I decided that each time the film is rejected, I will submit to another film festival. My film is a hard sell, but I think it needs to be seen. If a festival is holding in person screenings then they are already embracing and helping spread the COVID virus. They will not likely want to screen a film that shows the horror of the ongoing pandemic when they wish the pandemic was over or never happened.

 

COVID: Science Aggression Animation

Yesterday was a very productive day. I finished three scenes and completed the animation for this Science Aggression Animation. This morning I just need to paint the arms and move on to the next scene. Science aggression is a very real thing, and the aggressors have won. All basic attempts to curb the spread of the COVID Virus have been dropped. As a result there is a late summer surge in cases with no testing in place.

New vaccines will be available in September but several new variants are already so mutated that the vaccines will be useless against them. Long COVID continues to disable children and adults alike. You do not need to be vulnerable to develop long COVID.

On the plus side, the economy is purring along. The economy is any politician’s primary focus.

Anyway, back to this scene. I know that this arm animation will be a devil to composite into the final scene. I am using green screens but the glove is green and therefor will become partially transparent. I think a blue screen will change the color of the glove. Transparency is a bear I have yet to tackle. Callipeg has a format called HEVC with an Alpha channel but it does not open in After Effects. I need to find some plug in that converts the HEVC file into something that After Effects can recognize.

I have never tried importing the HEVC file into Premiere but I suspect the same problem will occur. I will try that today. I will try that today, I will do most of the compositing in After Effects and then export it without the arm animation. I will then try and line up the animation in Premiere. It seems insane that I have to jump through so many hoops to try and export an animated scene with transparency.

COVID: Breach

This scene is quick zoom in towards the zombies around the confederate flag. I animated the flag wave using the wave warp tool in After Effects. It isn’t the most believable waving flag animation in the world but it might do. I am considering importing the file into Callipeg to refine the shape of the flag to exaggerate the folds.

Last night I started working on a new shot that goes with the Lyrics, “Explode”. The image had been a crowd in India desperately storming an oxygen supply warehouse. The crowd is engulfed in flames. The trouble is that the shot is rather amorphous and difficult to read.

The shot I am considering replacing it with is iconic and easily readable. I am using the shot as an excuse to play with animation tools I seldom use in Callipeg. If it all works out it could go in the film. If it doesn’t work then it was just an experiment.

COVID: Back to Normal

With this scene I decided to add subtle animation to the high priest and the bird men holding the victim in place. The high Priest and bird men heads were isolated in Procreate and I made a new depth mask without them. I animated a parallax effect in After Effects and then imported the high priest and bird heads as a separate layer. These were animated using pins. I just added a subtle bend to the high priests back and also animated the bird me looking up.

I had a quick pan upwards n the shot but decided to play down that camera move after adding the animation. The trouble with animating using after effects is that the computer tends to produce monotonous even timing. Even after adding slow ins and slow outs, I need to experiment quite a bit to get things to feel natural. The other issue is that After Effects isn’t able to play back the animation due to memory issues. I scrub the timeline to guess what the timing might look like. I have to due a render of the scene and import it into Premiere pro to see the animation in real time.  All the extra steps lead me to sometimes settle for a result that could be better with more refinements. I am thinking I will have to go back and rework several scenes from last week after watching them a few times in the overall flow of the film.

COVID: Slaughterhouse Breakdown

I reworked the slaughterhouse scene. With the rise in cases of COVID kids are being forced back into crowded unventilated rooms to repeatedly catch and spread COVID to friends and family. The simple step of putting a quality HEPA filter in each room could drastically cut the viral transmission but that seems to be a bridge too far of most Americans. People prefer to pretend that children are not affected by the virus. People who have blocked the first three years of the pandemic are shocked when their children are too sick to go to school. The virus is wreaking havoc on a whole generation of young brains.

The above image shows how paintings are broken apart and then reassembled in After Effects. I isolated DeathSantis and a single child for animation. The child swings subtly from the meat hook while DeathSantis tilts his head and looks up. DeaSantis spews breath and viral spatter. I had to separate out the upper support structure so it could overlap the swinging child’s legs.

I had to create another depth map without DeathSantis and the child. Animation trumps depth maps. The fact that someone moves implied depth. The wash element above goes over the final composite. It is super transparent since I set the mode to subtract. Subtract means the color painted will be super transparent and the opposite color of what I painted. The blue tones I painted show up as a subtle warm renaissance wash.

I finished 6 shots yesterday but each had very subtle animation elements. Today I am starting to animate beach zombies and that will take multiple days to complete. I found some amazing reference on you tube of people auditioning for zombie rolls. All the various limping walks should act as great inspiration. There are a few more zombie walking scenes so I should be an expert on various walks zombie before long.

COVID: Supermarket Monkeys

Yesterday, after compositing the Minotaur scene in After Effects and Premiere Pro, I completed five more shots. I decided this shot needed a more fluid wagging tail of the small monkey. I animated that one element in Callipeg and composited it into the shot. In After Effects I added some motion to all the other monkey tails using pins and animating them. That animation isn’t as fluid but I want people looking up at the small monkey so I made the other animation very subtle.

I completed two of the face mask panning scenes at the end of the film by tilting head back and opening jaws. The third pan is a challenge. My thought is to move the masked couple closer together and not pan but then there is not motion to the scene at all. I might change what I have and have a masked couple hugging. That could add some action and interaction. I will try both scenarios and see what works. Adding a hug will certainly make the shot a whole lot more challenging.

 

COVID: Freedom From Fear

After compositing all the layers of the flaming football players, I decided to animate a simpler scene in the afternoon.I figured animating this army nurse offering a vaccine jab would be a simple task. I tried animating the scene at first in Callipeg by cutting the arm into a forearm and upper arm. The plan was to animate those two sections like cutout paper animation. The problem was that Callipeg reduced the resolution of the segments when they were moved into a new position. I suspect that rotating the segments caused the loss in resolution. This is a major drawback for the program and I stopped using it for this scene.

I instead cut out the arm as a single segment and imported it into After Effects. I set up depth maps for the scene minus the arm. The arm layer was then composited on top of the scene which had the parallax effect. I downplayed the parallax effect on the girl and nurse’s head and shoulders.

The yellow dots scene in the shot above are pins which I placed at the joints. The red dots are called starch pins which solidify the bony arm segments. I moved the wrist pin and the elbow pin a tiny bit to key frame the animation. Unfortunately After Effects can not play back the animation in real time because of memory issues. It only plays a few frames in quick succession. I have to render the scene and look at the render to check the animation. I tend to accept some sub par animation because of this technical glitch. I plan to go back into some of the previous scenes to adjust animation timing. I might go back into this scene as well after I figure out how to adjust the memory settings for optimal use in After Effects. Technical shit like this can cause a solid day of digging into memory settings, so I prefer to just keep moving forward.

At first I animated the jab over the course of the whole scene which is just short of two seconds. That was too slow and monotonous. I then cut the animation down by half and held the jab in for the remaining time. That left a somewhat uncomfortable pause but I liked it since I am always uncomfortable when I get a jab.

COVID: Flaming Stadium Day 3 Animation

I finished the Callipeg animation on the eight football players in this scene. Now I need to import the scene into After Effects to give the football field depth and add breath, COVID spatters, extinguisher exhaust and tack flames onto the players and fans on fire.

Maybe I should just stretch the background side to side so it fills the 1920 by 1080 aspect ratio. If it looks distorted I will drop that idea. I suspect the final touches on this scene might be more complicated than I am anticipating. I think I will tackle a much simpler scene next. I am burning out from animating so many crowds.

COVID: Flaming Stadium Animation Day 2

On day one of animating this scene in Callipeg.  I assumed I might finish one runner after finishing my online course with 2 students. For some reason both students were missing in action so I devoted myself to animating all day. I finished animating three runs for the day, although I need to paint a few arms and add a strip to the pants of the runner in the background. That paint will be just a few blobs and stripes since the figure is often hidden. If I can keep this pace up I will have the scene done in two more days.

I have one more big running scene with Centaurs running down the streets of Washington DC. That could be the trickiest scene in the film and might require full animation, with the centaurs running up the road and then turning in front of the camera. This scene is building up my chops so I can tackle that Centaur scene.

I might go back and re-animate scenes I worked on in After Effects. That program makes moving objects easy, but the computer creates very even timing which stands out like a sore thumb. There is an ease in and ease out function but the timing otherwise is monotonous. I will have to go back into those scenes to add some snap the timing. I am using every trick in the book to complete animation quickly but I can’t settle for boring timing.

COVID: Robo Server

I decided to animate the robot in this scene. To get the robotic effect, I cut the robot into parts, such as an upper arm and lower arm, Upper Leg Lower Leg, and foot. I then posed the robot into walking poses. I realized while working on the scene that this could be a good way to teach students how to animate a walk. The one mistake most students make is sliding the feet forward and backward. With this robotic walk, the feet a cut and pasted into exactly the same spot from frame to frame.

I had animated an extra half of a step but the animation was way too fast for such a lumbering robot. I decided to hold each frame for 3 frames and that slowed it down enough. The three frame animation is probably a bit clunkier than animating the scene on twos, but clunky is what I was going for.

I am now assembling the scene in After Effects and should have it in the final edit later today.