mi4011nihinduyasmith

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The final result.

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Because there was no drawing pad before, the process was a bit slow. . .

Of course, there is no drawing pad now too.

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According to the teacher's suggestions, I made improvements and added the missing parts.

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From the day before yesterday to today, I made some improvements to the environment design and particle effects in the animation, as well as the sparks flying design in the third scene. During this period, I tried various brushes and finally chose to change the ending background to this. I also filled the fire phoenix with color, added some particle effects when the two sides fought, and tried to add the character's actions.

This is the progress so far.

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From the day before yesterday to yesterday, I made some improvements to the environment design in the animation, as well as the sparks flying design of the third scene.

During this period, I tried various brushes and finally chose to change the ending background to this.

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The level of completion of my animation from when I started on vacation to now.

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What I did today is based on the discussion and evaluation with the teacher

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An improved version of the storyboard based on the teacher’s comments.

The storyboards correspond to each shot one by one, and at the end is the list of producers. Next this is the current scene description:

This is an animation I made about "The Avatar". I used its author "Michael Dante DiMartino" as a prototype and combined it with the author's animation to design the animation.

First scene:

I chose to use an elevator-type title box to float above the character's head. The picture started with a close-up of the character's head, and then slowly zoomed out until the half-length of the character was shown, and then transitioned.

Second scene:

The character raises a finger to the upper left corner, releasing the element of wind, symbolizing the wind in Avatar. Then some leaves fly from the right side of the frame to the upper left corner. After that, the leaves were blown out of the screen by the wind element, and then a leaf flew close to the camera in the upper left corner of the screen, covering the screen. Finally, the screen darkened and the scene transitioned.

The third scene:

It begins in darkness, then sparks flicker in the center of the frame. A fireball appears and dances in the center of the screen, symbolizing the fire in "The Avatar". The firelight allows the audience to see the outline of the character. His hands are holding the fireball flat at the bottom of the screen. Half of his body occupies almost the entire screen. The dark The beard fills the upper center half of the frame. Afterwards, the fireball extinguished, the screen darkened, and the fourth scene entered.

The fourth scene:

There was a blank scene at first, then the camera rotated to the right, and an iceberg appeared, symbolizing the setbacks encountered by the protagonist group in "The Avatar". Then the camera turned back, and a hand stretched out from the left, condensed into a ball of earth, and whizzed out, symbolizing the earth in "The Avatar." Then transition.

The fifth scene:

The scene turned to the iceberg, and the earth ball was spinning towards the iceberg on the right from the lower left corner. The visual difference between near and far is used to highlight the speed of the earth ball and the distance between it and the iceberg, as well as the height of the iceberg. After that, the earth ball hit the iceberg, the iceberg shook, the camera shook, the camera focused on the top of the iceberg, and then the scene changed.

Scene six:

The character's antagonist, the Fire Phoenix, symbolizes the Fire Nation general who is responsible for the imbalance in the world in Avatar. The Fire Phoenix was hidden inside the iceberg and escaped after the earth ball caused the iceberg to break. It flew from behind the iceberg to the top of the iceberg, released powerful flames, expressing the anger and power of the fire phoenix, and then swooped towards the character.

Scene 7:

The animation starts with a close-up of the swooping face of the Fire Phoenix. Then the Fire Phoenix opens its beak, gathers the flames surrounding it, and condenses a fireball into its beak. Enter the eighth scene.

Scene 8:

Then the perspective alternates between a close-up of the fire phoenix's swooping face and a close-up of the character's face. During this period, the approach of the fireball will be highlighted by zooming in on the close-up of the character's face, followed by a transition.

Scene 9:

Then focus on a close-up of the character's face. The character's eyes then begin to glow, while a glowing arrow slowly gathers above his head, symbolizing the characteristics of the protagonist in "The Avatar." Then transition to a distant view and enter the tenth scene.

Scene 10:

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The first photo shows the animation layer production of the fireball. I used the Contiguous Selection Tool in krita to select the fireball that was not good before, and then created a new layer. In the new layer Use the Draw a gradignt tool to render gradient colors according to the scope of the frame selection, so that the base layer of the fireball is good, and then use the brush "Texture lmpressionism" in the Freehand Brush Tool [Tags:Location: Krita_4_Default_Resources.bundle]. Adding fire particles, I then tried using Liquify in Transform a layer or a selestion to create the jitter of the fire.

As for the title above, I planned to only display it at the beginning of the animation, but it has not been processed yet.

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Today what I am for the project and designing the background for the animation.

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Today I am collecting materials for the project and designing the background for the animation.

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Materials I found while working on the project:

Sound effect material:

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Today, during a conversation with my teacher, I learned how to put the things I am doing related to the project into the BLOG.

I need put the audio and background picture materials and character characteristics materials that I was looking for into the BLOG.

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This is an animation I made about "The Avatar". I used its author "Michael Dante DiMartino" as a prototype and combined the author's animations to design the animation.

First scene: I chose to use an elevator-style title frame to float above the character's head. The picture started with a close-up of the character's head, then slowly zoomed out until the whole body of the character was shown, and then transitioned.

Second scene: The character raises a finger to the upper left corner, releasing the element of wind, symbolizing the wind in Avatar. Then some leaves fly from the right side of the frame to the upper left corner. After that, the leaves were blown out of the screen by the wind element, and then a leaf flew close to the camera in the upper left corner of the screen, covering the screen. Finally, the screen darkened and the scene transitioned.

The third scene: It begins in darkness, then sparks flicker in the center of the frame. A fireball appears and dances in the center of the screen, symbolizing the fire in "The Avatar". The firelight allows the audience to see the outline of the character. His hands are holding the fireball flat at the bottom of the screen. Half of his body occupies almost the entire screen. The dark The beard fills the upper center half of the frame. Then the fireball went out, the screen darkened, and the scene transitioned.

The fourth scene: There was a blank scene at the beginning, and then the camera was rotated to the right, and an iceberg appeared, symbolizing the setbacks encountered by the protagonist group in "The Avatar". Then the camera turned back, and a hand stretched out from the left, condensed into a ball of earth, and whizzed out, symbolizing the earth in "The Avatar." The scene turned to the iceberg, and the earth ball was spinning towards the iceberg on the right from the lower left corner. The visual difference between near and far is used to emphasize the speed and distance of the earth ball and the height of the iceberg. After that, the earth ball hit the iceberg, the iceberg shook, the camera shook, the camera focused to the top of the iceberg, and then the scene changed.

The fifth scene: The character's antagonist, the Fire Phoenix, symbolizes the Fire Nation, the culprit responsible for the world's imbalance in Avatar. The Fire Phoenix was hidden inside the iceberg and escaped after the earth ball caused the iceberg to break. He flew from behind the iceberg to the top of the iceberg and released powerful flames. Then it dives towards the character. Then transition.

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Michael dante dimartino -  The Legend of Korra, Avatar: The Last Airbender

https://www.tumblr.com/michaeldantedimartino

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Michael Dante DiMartino

He is best known, together with Bryan Konietzko, as the co-creator of the animated TV series Avatar: The Last Airbender and The Legend of Korra, both on Nickelodeon.

Before Avatar, DiMartino worked for twelve years at Film Roman, helping to direct King of the Hill, Family Guy and Mission Hill, in addition to his own animated short, Atomic Love, which was screened at a number of high-profile film festivals. The dedication to his father's memory can be seen in the penultimate episode of Avatar: The Last Airbender.

1. why I have chosen to work on this particular animator.

When I was young, I learned about "Avatar: The Last Airbender".

I was attracted by his painting style and characters full of details and rich expressions.

There are also cultural elements incorporated into it.

On the basis of fantasy, we have done a more in-depth and historical exploration, unified the storyline and animation, and the characters’ facial expressions are in place.

As an animation depicting war, battles are essential. However, as a children's work to be broadcast on Nickelodeon, they must find a way to show cool martial arts battles without using violence, and finally found a solution in traditional Chinese martial arts.

The imperial masters from the four countries demonstrated their own imperial arts respectively, but their moves were different.

The water-good country uses Tai Chi, which is a concept in Chinese Taoist culture. Its original intention is to comply with morality and nature. Just as the Supreme Good Ruoshui said, “Water is good for all things without fighting."

The earth-power country uses Hong Fist. Hong Fist Quan refers to the pictograms of various animals, requires strength and strength, and advocates using force to convince people, which is in line with the earthbender's use of soil;

the country of Qihe uses Baguazhang, which pays attention to its own flexibility and harmony with Qi. The martial arts of the country can be perfectly combined;

the Fire Nation uses Shaolin martial arts, which is a relatively comprehensive martial arts system.

2. the details and aspects of his life that I have uncovered through. intend to show in your project.

• BRYAN: Mike and I were really interested in other epic "Legends & Lore" properties, like Harry Potter and Lord of the Rings, but we knew that we wanted to take a different approach to that type of genre. Our love for Japanese Anime, Hong Kong action & Kung Fu cinema, yoga, and Eastern philosophies led us to the initial inspiration for Avatar.

• BRYAN: We knew we wanted the "magic" in our show to be different than the typical wand-wielding spell-casting fare. For us, it had to be natural and physical, with a source and rules and limitations - and most importantly it had to be a skill rather than just a power, something that a practitioner had to learn and strive for. We wanted the elemental "bending" to be based on authentic Chinese traditional martial arts, believing this would lend a beauty and resonance to the animation and the fictitious disciplines. Once we had that idea, I started looking for a Kung Fu teacher/Martial Arts consultant. My search led me to Sifu Kisu and I began training with him right away. He has been a valuable part of the project ever since.

Discovering that he is a spiritual and true spirit, and likes to interpret the story in a way of competition.

3. visual style / animation techniques / methods

Visual Style: Exquisite visual effects and detailed painting style. Featuring rich colors and details, showing off delicate lines and scene designs.Incorporating elements of Asian culture and art, such as Chinese martial arts, Japanese animation, etc., these elements give his works a unique style and atmosphere.Animation Techniques and Methods: Visuals and narrative blend together to present the storyline.

Use technical means such as animation shots, editing, and perspective switching to add drama and visual impact to the storyline.In terms of character design, he pays attention to the character's personality characteristics and emotional expression, and shapes the character's image and personality through detailed expression and action design.