These are clips from my latest short film Polo's Robot.
July 10, 2010
I was just walking through an alleyway, minding my own business
and look what happens. It ran off down the street with my shoes..... dam aliens!!!!
All these paintings were digitally painted by Matt Martin.
Matt's a skilled painter, before working on Polo's Robot he had only ever painted traditionally on canvas, so painting digitally was a real learning curve for him, and also for me as Director because i new nothing about using the program Painter, which is what he used.
But he was a fast learner, near the end of production he was pushing out around 2 to 3 of these paintings a day!
The film has a lot of quick shots so sometimes the film flies by so fast that its hard for the audience to stop and admire the background artwork properly.
I was extremely happy with how the backgrounds worked out, probably one of the best parts of the film.
July 8, 2010
One of my favorite clips from Fantasia.
Fantasia is one of the greatest animated films ever made in my opinion, maybe even one of the greatest films. To this day the film still inspires me.
It's amazing to think that this was made in the early 1940s!!! 1940s!!!!???
Disney were so far ahead at the time, the films concept was wildly innovative and original, creatively it was a masterpiece but it was also commercially risky for Walt and in the end it was a box office flop. After that, the studio never had the balls to try something like it again.
But i think it was Walt Disneys peak as a artistic genius. From then it all went down hill.
Disney Studios never did anything innovative or ground breaking in animation until Toy Story came along.
This clip shows the process that was involved to create just one shot from the film 'Polo's Robot.'
1) Rough animation done on flash, with a wacom tablet.
2) Cleaning up the rough animation, using a top layer in flash i would trace each rough drawing with a clean drawing.
3) Image of the eye is added and moved inside the eyeball using tweening in flash.
4) Animation is colored, shading of the character is animated over the top of the character (that is one hell of a job) and backgrounds are added.
5) Compositing effects, such as lighting, color changes, shadows and eye effects are added to the shot using the program After effects.
6) And then i sleep for a month.
In all, there were 130 shots in 'Polo's Robot' enough to sent me to a Asylum.
This is Alfred Skimmy.
Behind his traumatised face is a lovable human that just wants to give you a inappropriate hug.
He is a charmingly simple minded, and disturbed fella but with a big heart.
He aint too bright, but he tries his best. He is misunderstood by the cruel world around him and means no wrong, but for some reason he always seems to get into the biggest pile of sh%t trouble you ever seen.
Unable to afford a nice quiet home he lives in a cheap run-down building in the noisiest and most dangerous areas in the city while surviving on a disability pension because of his mild obsession disorder.
But dont let that discourage you from him, he only blew up that child care centre by accident.
Every now and then i come back to this character, coming up with ideas for a script.
The big picture for this is to make a short pilot episode, around 3 min long and see if i can get something started, i think he has a lot of potential.
By any chance if any cartoon-'Jack Warner'-T.V moguls are out there reading this and want to fund it........... drop me a line.
First up is my Showreel. Here is it. Too much time and work has gone into most of my animations to mention.. so i wont mention it , other then say this is from my violet period (2006-2010), when i was obsessed with velvet and i wanted to cover the world with it.
And then i wanted to build a robot... But lets not get into that.
Enjoy my showreel!