Hecate Ogr

O NLI N E GREENLI GHT REVI EW
21/10/2016
Rebecca Stapley
Eleanor Spence-Welch
Danielle Gibbs
S ENTENCE, CO N FLICT, GENRE

SENTENCE:
"As soon as the words came out of his lips he felt as though someone
had said them for him
CONFLICT:
Man vs Self
GENRE:
Historical Epic
ALLO CATI O N OF RO LES

REBECCA
ELEANOR
DANIELLE
DIRECTOR
RESEARCHER
EDITOR
PRODUCER
SCREENWRITER
COMPOSITOR
ANIMATOR
STORYBOARD ARTIST
GRAPHIC DESIGNER
RENDER WRANGLER
CG MODELLER
LAYOUT ARTIST
ART DIRECTOR
LIGHTING TECHNICAL
DIRECTOR
TEXTURE ARTIST
PRODUCTION DESIGNER
MEDIA PLANNER
MARKETING MANAGER
RIGGER
SOUND DESIGNER
lo glin e
Opening shot of old tailor shop in a city. The shop is old and worn down, while the nearby buildings are slightly
taller and newer. The next shot is from inside an upstairs room in the tailors. It's pitch black, the sound of
footsteps coming up the stairs is heard, the door swings open, revealing the silhouette of an old woman
carrying fabrics. She shuts the door and the room is pitch black, the next shot is her lighting a candle. She puts
up an old picture of a young woman in a beautiful dress and ponders it for a moment. The wall is covered in
old paintings and photos. The old woman turns to reveal many mannequins wearing failed dresses, and one
undressed mannequin.
She sets to work, picking out fabrics, needles, and threads, moving the mannequin to the center of the room.
As she sets the mannequin in place she catches a glimpse of herself in a large mirror at the end of the room.
Seeing her aged reflection, she shies away behind the mannequin, and gets to work. As she works, a ghost
appears from one of the mannequins and begins dancing around her. The old woman smiles at it as it goes, but
quickly goes back to sewing. As the ghost dances, it knocks a gramophone, that begins to play music. After
doing this, two more ghosts come to life, and rush to the other ghost to begin dancing. They try to get the old
woman to join, but she brushes them away. Continuing to dance, more ghosts come to life, swirling around the
old woman, taking needles and fabric from her to get her to join the dance. She chases them in her frustration,
but to no avail, they are faster and more youthful. The woman gives up, her form flashes, ghost-like, as she falls
to the floor. The dancing and the music stops. All but one ghost vanishes. The ghost approaches the old woman
and hands her a needle before helping the woman to her feet and disappearing. The woman goes back to work
on the mannequin, and it comes to life, admiring itself as she works. Finally the woman steps away and
admires her work, it's complete.
The woman approaches the mirror, wearing her new dress. Her reflection shows her younger self, wearing the
same dress. The music starts again, and she begins to dance. As she spins, her reflections stops, and reaches
out its hand. The old woman takes it, and is pulled into the mirror. Inside the mirror is a ballroom full of
colourful dancing ghosts. The woman dances in the middle of them. As she spins, the room begins the fade,
the ghosts disappear one by one, until she is alone in a dark empty space, dancing away.
How genre is incorporated

We have set the animation in the early 1900s, and will include epic,
sweeping shots of the city as well as a grand ballroom at the end. We
believe these factors, including the style of the dresses we will be
featuring and background music will tie in with the Historical Epic
genre.
scri pt
https://www.scribd.com/document/328296561/The-OldSeamstress#fullscreen&from_embed
Storyboard
ani matic
https://vimeo.com/18832647
3
An approach to visual
storytelling
We are limited by both deadlines and how much skill we have in Maya,
as well as the restrictions such as conflict, end sentence and the time
limit of 90 seconds. As a result of this, we are finding simpler ways to
create our character and tell her story, such as having only a few
locations and no dialogue. Our style should allow us to add styles via
textures, and not have to form these details in 3D modelling. The
limited time we have for this animation meant cutting down our
original story ideas, and finding ways to tell the story without going
overboard with information.
Early PRODUCTI O N D ESI GN
SOUND D ESI GN
https://vimeo.com/188330101
PRODUCTI O N SI GN OFF
To make our animation we will use Maya and model our characters in a
low-poly style. We will be adding more specific details via textures, so
low poly is a good choice for us to keep it stylised and simple. As well as
animating in 3D software, we will also be animating the ghost
characters in Photoshop and Flash Professional to get a more hand
drawn, wispy style. To edit sounds we will be using Adobe Audition and
all post production work including mixing 2D and 3D will be edited in
Premier Pro and After Effects.
TI M ETAB LE
17th- 25th October- OGR Sign Off
Week beginning 31st- Beginning production- modelling
Week beginning 7th Beginning rigging, texturing, gathering final
sound, Flash/ Photoshop animations
Week beginning 14th Begin animating + Flash/ Photoshop animating
Week beginning 21st Animating/Lighting/Flash
Week beginning 28th Rendering and beginning post production
Week beginning 5th Editing, post production, Art Of
Crit- 13th December

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O NLI N E GREENLI GHT REVI EW

S ENTENCE, CO N FLICT, GENRE

ALLO CATI O N OF RO LES

How genre is incorporated

Early PRODUCTI O N D ESI GN

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