FROM AN EVIL CRADLING
PRE-PRODUCTION 2
discount hotels in RiminiOne of 'From An Evil Cradling's' more unusual sequences - the 'Insect Trap' that, in a hallucinogenic expansion of a spider's web depicted in Brian's cell, becomes a nightmarish expanse.
This is an 18 Field layout which was used as reference for all of the various elements which were drawn to produce the finished scene. This amounted to ten levels of artwork which were then composited together using A for Animation's Animo computer systems.
Two of the most complicated background shots in the film were the hall sequence's opening and closing vertical pans. In order to assist A for Animation's Animo artist, Zan Light, in constructing the background elements in the Animo's virtual rostrum camera bed, diagrams such as the one above were drawn up. Note the background peg positions which have been marked up along the length of all of the background elements. Arrows and instructions indicate start and stop positions of panning overlays. Written camera instructions also helped Zan Light and her team to successfully produce the required shots.
An early design for the glass dome which appears at the end of the hall sequence. The finalized design used for this element was an authentic Muslim pattern. This image effectively rounded off the hall 'journey' which commenced with Christian motifs.
The Tunnel or 'Vent' sequence included many subliminal junction sets as the camera panned at high speed along various surfaces at ever increasing speed. This is one of those junctions. The camera move was a high speed zoom towards the distant, central white dot which is a tunnel exit. This exit was created using A for Animations Animo system and positioned centre-field after being scaled down. The entire 'Vent' sequence involved designing about forty short scenes which were then cut together by editor, Rnn Muirgheasa.
The rectangular tunnel shape was designed to perfectly match the screen ratio of 1.1:85 - which meant that the corners of the tunnels registered with the corners of the cinema screen. To emphasis the strangeness of this 'trip', you will notice that the surfaces have been designed to look both flat and three dimensional simultaneously.
This is a 16 Field Background image (16" across) illustrated using Tria marker inks, Pantone/Tria markers and colour pens/pencils on Lyndhurst 135gsm cartridge paper.
Co-directors, Andrew Kavanagh and Keith Foran animated the spectacular final sequence of 'From An Evil Cradling'. Again, this was a complicated section of the film from both an animation and background point of view since the animation was completed many weeks before any work was scheduled to start on the compression chamber background layouts.
Keith Foran initially shot DV camera footage of fellow animator, Phillip Lee, dancing wildly about 'Shaman style'. Keith shot footage from as many interesting angles as possible - from worm's-eye views to downshots from a balcony. This footage was then reviewed, broken down into specific scenes or shots and rotoscoped by Keith Foran (a technique whereby the DV footage could be traced roughly onto traditional animation paper). Andrew Kavanagh then took the rotoscoped drawings and, using them as reference, animated them.
Croatia HotelesKeith Foran roughed out many of the shots with art director, Owen Fitzpatrick, using key figure drawings from each of the sequence's animated scenes so that the interior perspectives were correct in relation to the dynamic animation. This sequence was then edited by hoteles en SienaRnn Muirgheasa using live-action, inter-cutting techniques.
The sketch above was a rough layout for a shot that required many overlapping, animating and static elements. Foreground elements can add depth to scene. See a still from the completed scene below.
A still from the completed scene described above. Much of the animation was started before Owen Fitzpatrick had an opportunity to fine-tune many of the background layouts. Most of the animation, therefore, was completed using basic registration lines such as floor and prop lines as guide reference for positioning. This meant, in effect, that the animation and backgrounds registered seamlessly when composited on the Animo cameras. Backgrounds by Owen Fitzpatrick, Paul Madden and Bronagh O'Hanlon
We hope you enjoyed browsing through these pages. If you would like to know more about 'Fromhotel a Bratislava An Evil Cradling', or if you have any queries, please drop us a line at the Rocket Animation e-mail address at the bottom of this page. Kavaleer Productions can be contacted at the following e-mail link: Kavaleer Productions
From An Evil Cradling Official Site
