university lor the creative arts



I ntrod ucti on 2


Story 4

Storyboa rd 5

Previs 6

Ba by 6

Extras 7

Environments 8


Baby 13

Extras 1 8

Props 19


Compositi ng 24

Final Stills 30

Closing Comments 35

Our studio consists of 4 individuals:

Dan Bright - Kin Chan -

Elliot Mcgregor - Leo Tsang -

"The Day of the Chainsaw Baby from the Centre of Earth" is a pistache of B-movie films of the post with a modern day aesthetic. A combination of horror and comedy communicates a story of a lost baby with incredible destructive power. This book provides an insight into the process of creating a 2 minute trailer for the movie.




KLED Animations

kled-an i mations.

The story initially posed a challenge for us with such a random title presented to us as 'Day of the Chainsaw Wielding Baby from the Centre of Earth'. Combining the two elements of a chainsaw and baby together not only seemed completely random, but rather absurd. How would a baby ever get his hands on a chainsaw? Not to mention that such a feat would be physically impossible for a baby to do. Some initial ideas included having a baby creature, rather than a human one, but the manmade object of a chainsaw immediately threw such possibilities out the question.

Thus, after many brainstorming sessions, we found we could not avoid the concept of chainsaw and baby, but rather embrace it. The solution we had was that the baby was created in the depths of a laboratory located underground in the centre of the earth, where he would inevitably escape to wreak havoc on the surface above. Not only would this parody classic cliches of a mad scientist creating new life, such as the terror of Frankenstein, but also provide us with a reason of a baby wielding chainsaw as he was engineered to be the perfect killing machine.

Following this premise, we eventually structured our trailer beginning with the escape of the chainsaw baby from the laboratory, referencing sci-fi and horror genres of the escaped creation. Where we continue by providing the comedic reaction of the chainsaw baby to different scenarios, to the escalating reaction of the public who find this baby a national threat as he unwittingly terrorises all who encounter him.

With a storyboard in place, we could then proceed to produce a 2D ani matic to begin to evaluate the strength and consistency of our narrative.

You can view our Animatic at: 0/1 O/animatic-pitch.html

pan down

alarms sound off

fades to black

kids see baby

pauses then revs

cuts to

cuts to cars steaming cuts back to baby cuts to paper shot


- --~~

cut to cars arriving cut to baby cornered switch to megaphone

zooms reving saw END.

After the animatic, the previs is the first real attempt to resolve camera shots, pacing and transitions. If the previs is successful even with such limited graphics, then the final product will often stand a good chance of also being successful. Effectively, the previs became the blueprint for us to begin production. You can view our Previs at: O/12/previs.html

Character Concepts by Kin Chan.

We initially thought of a robot incarnation for our main character of the baby, which would provide a viable way to attach a chainsaw by replacing one of his limbs. However, we very much liked the cute and charming aesthetic of one of our baby character concepts, combining baby and machine in a sort of hybrid design. Originally, we intended to have only one chainsaw, but later thought 'why not have two!' which would become the final reveal for the finale. The bright art style and aesthetic would eventually lead into the art direction throughout our design and production.

Character Concepts by Kin Chan.

Extra characters included a young girl and policemen, both of which would provide intriguing scenarios for the baby to playoff from. The young girl would provide the general audience reaction to most given babies in that they are cute and cuddly. Only to approach him and be frightened away by a confused baby, having arrived on the surface for the first time, by activating his defence mechanism of a chainsaw. Whereas the policemen would provide the comedic overreaction to the baby as an escalated threat, deploying forces on mass to stop a simple baby.

The environment of our world included the baby's origins of the laboratory to the world of the above which included a park and town environment. Dark and mysterious colours were used for the laboratory, where in contrast bright and colourful tones were used for the surface to further differentiate between the two. Many elements of our world followed the stylisation of our art direction, including trees and houses, as well as the cars of our animation which would have a prominent feature in the police chase scene.

Laboratory Concept by Leo Tsang.

Laboratory Concepts by Leo Tsang.



Elevator Concepts by leo Tsang.

Park Concepts by Leo Tsang.

Street Concept by Leo Tsang.

Cars Concept by Kin Chan.

Modelling the baby was a challenging task as not only would he take centre stage, but ultimately be at the very heart of our animation as to whether it would succeed or fail. Effectively, the model had to capture the charming aesthetic of the original character concept designs in order to work throughout the animation as a whole.

Baby Model by Leo Tsang.

Baby Wireframes by Leo Tsang.

Baby Model by Leo Tsang.



• •


Baby Texture by Leo Tsang.

Baby Model by Leo Tsang.

The extra characters stood on the sidelines of our animation and thus did not require the same level of detail as the baby. Of course, the characters still had to retain the same art style as the baby in order to be believable in the world of our animation.

Character Extras by Kin Chan.

A multitude of props were created that would serve to fill the world of our environments. In total, around 70 individual props were made.

Police Car and Civilian Car by Kin Chan.

Props by Elliot McGregor.

Model Houses by Elliot McGregor.

Lab Props by Leo Tsang.

Lab Props by Elliot McGregor.

Lab Board & Texture by Leo Tsang.


~ ~



Lab Tube & Alarm by Dan Bright and Leo Tsang.

Compositing scenes together required a number of render layers to maximise each shot to its full potential. The laboratory opening scene required a beauty pass with the correct lighting, a shadow pass with specific lighting to achieve ideal shadows, to an RGB pass and separate render pass on the assortment of panel objects from LED lights, buttons and monitor displays. In this way, each element could be controlled in post-production to achieve the best results.

Beauty and Shadow Passes.

RGB and Monitor Render Passes.

...... . ..... • •••
... _. ._-
~ ...
. - • ,
. • .. "
. - • ..
. - • - . ..
.... - •
. ... Final Composited Shot.

Special effects were also introduced in compositing, primarily adding more information and detail to the raw scenes. In this particular scene, smoke and bubbles were applied to the base image.

Bubbles and Smoke Effects by Leo Tsang.

Background Render

Bubbles Effect

---+-- Baby Render

Final Shot Composited by Leo Tsang.

For the majority of shots on the surface, Matte Paintings were used to allude to further detail in the background. Not only does this helps economise our efforts, but also fulfils our goal to achieve the intended art direction found

in our original concepts.

Matte Paintings by Kin Chan.

--+--- Original Render

-- Matte Painting

-- Animated Clouds

Final Shot Composited by Leo Tsang. Matte Painting by Kin Chan.

Despite all the blood, sweat and tears, it has certainly been a journey worth taking as we continue to grow as creative individuals here at UCA Rochester.

We hope you enjoyed this book, giving a unique behind-thescenes look into the making behind Day of the Chainsaw Wielding Baby.

Be sure to look out for our future individual projects!




university for the creative arts

KLED Animations

University for the Creative Arts Rochester

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