SAM FRANCIS

FMP REPORT
CONTENTS

PREFACE 3
IN RETROSPECT
INTRODUCTION 4
EVER ONWARDS
COMFORT ZONE
PART 1: JÖRMUNGANDER 5
A LURKING KINDNESS
SCRIPT
PART 2: SMOOTHBORE 6
PUT A BOMB UNDER THE TABLE
MINUTAE
PART 2.1: CLEAR SKIES 7
PART 2.2: BLU 7
PART 3: O, LEMURIA 8
OZYMANDIAS
SET IN STONE
MODELING AND RIGGING
CINEMATOGRAPHY, LIGHTING AND ANIMATION
COLLABORATION
CONCLUSION 12
THE TOP OF THE MOUNTAIN
SET IN STONE
PREFACE
IN RETROSPECT
This report is, by design, highly discursive. I cannot
in good conscience, however, throw the reader
head-first into a report ostensibly about my film ‘O,
Lemuria’ that makes no mention of it until 60% of
the way through. I started my film very late. I started
writing this report well before the idea for the film
had even been conceived. This report is primarily
an account of the process that led to me to create
‘O, Lemuria’, and so devotes a large amount of time
to the ideas that preceded it. Similarly, since the
production cycle was so non-linear and iterative I
have elected to present the process in ‘not-quite
chronological’ order to preserve some kind of
structure and flow.
INTRODUCTION
EVER ONWARDS
I am a character animator. I have a
passion for visual storytelling and imaginative
beats, and I have found the most success with
dynamic body mechanics. I want to deliver work
that sells me as an animator and a storyteller,
so I see FMP as a unique opportunity to create
work that has the visual impact that I so miss in
short animation tests.
For my final film I will produce a 3-5
minute CG short that is visually engaging, with
a narrative that is easily understood and takes
unexpected turns. I will do this using Maya and
Blender, rendering in Arnold.
My aim is to produce a large, consistent
and appealing body of animation for my
showreel upon graduation. Alongside this I will
engage in set design, modeling, lighting and
cinematography. More subtle performance
animation is vital to this, in that it is required to tell
a story, and that I feel this is a good opportunity
to either prove that I can do it just as well as
dynamics, or learn to. I aim:
To experiment with less familiar modes of animation
To produce a film that highlights my eye for visual
design and movement
To employ as many of my skills as I can to build a
carefully controlled product
To work closely with classmates to fill gaps in my skill
set
To create a peice that is distinctive, and represents
my artistic priorities
COMFORT ZONE
In previous projects I have spent my time
animating very short body mechanics focused,
dynamic pieces with a focus on subversive
slapstick or rule-of-cool action. I want to move
away from this somewhat, and expand my range
to include performative, tense animation.
I have never really made an animation with
narrative tension and real story. I want to find my
speed and voice, when communicating feeling
and drama. Rarely have I animated within a full-
fledged environment, which I have designed
from the ground up. I have the opportunity to
demonstrate my understanding of blocking,
framing and lighting using more than just basic
characters in a blank environment.
Since this will be the most involved project
I have attempted in my time at Ravensbourne, I
expect to encounter many unforeseen issues,
as well as having to develop new approaches to
problems due to the scope of my project.
PART 1: JÖRMUNGANDER
A LURKING KINDNESS
In 2017 I wrote a series of very short
scripts for animation as a sort of experiment in
screenwriting. Naturally, my first thought when
deciding what to make for my final film was to
take one of those stories and actually produce
it. The one I settled on was a short story about
a creature eeking out an life on the margins of a
dystopian Blade Runner -esque city. The story
sees this creature finding companionship in a
hostile world, and overcoming their distrust of
strangers.
The main focus of this idea is in the visual
appeal. A distinctive colour palette combined
with intricate backgrounds and a heavy sense
of atmosphere are intended to make a strong
impression. I want to make the audience curious
about this setting, and give them the sense that
this story is a small part of a much larger world.
As when I wrote the script, I have a very strong
impression of a look and a mood, and that
guides my process.
SCRIPT
My main objective with Jörmungander
is to produce something visually different, and
something I can fit into such a short period of
time. I want to make something atmospheric,
contrasting a large, overbearing world with a
small, sentimental protagonist.
In drawing up the concept for
Jörmungander, I was concerned with how
long it would take to create a fully realized 3D
world with props, lighting and textures. Setting
the story in a bladerunner-style city made this
potentially very time-consuming. I have decided
to instead render the backgrounds in pixel art,
and pixelate the character animation to match
the backgrounds. This fits the feel of controlled
chaos I want to evoke, and I think it would look
very unique.
However, I find myself unable to
satisfyingly answer questions about why this is
a good project to pursue. The problem is that
the thematic core is just not there. If I have a
plan to make a potentially interesting looking,
innovative and atmospheric piece, without an
idea of the story I am trying to tell, I have no way
to focus my efforts.
PART 2: SMOOTHBORE
PUT A BOMB UNDER THE TABLE
We are now having a very innocent little chat. Let’s
suppose that there is a bomb underneath this
table between us. Nothing happens, and then all
of a sudden, “Boom!” There is an explosion. The
public is surprised, but prior to this surprise, it has
seen an absolutely ordinary scene, of no special
consequence. Now, let us take a suspense situation.
The bomb is underneath the table and the public MINUTAE
knows it, probably because they have seen the
anarchist place it there. After some iteration, I slimmed the story
(Hitchcock, 1966) down to just one setting and even potentially one
shot. Quickly, though, discussions of storytelling
This point Hitchcock made sits with me. got bogged down in endless changes and
The lesson is a valuable one, but something questions about context and intent. I found that
appeals to me about the example he cites. It focusing too much on the story without a clear
feels so archetypally filmic. Thinking about it, a vision of the atmosphere and feeling left me
twist on that scenario occurred to me: What if un-enthused. Cancelling this idea is a difficult
the bomb was not a bomb, but a gun held by decision, as in many ways I am back to square
one of the characters? That way, revealing the one. In truth, though, I have still been able to work
gun is a lovely change of stakes moment for the on many other animation projects in this time,
audience. What they thought was a pedestrian, and all I risk by walking away from Smoothbore
if a little tense, scene is now a potentially lethal is not having a single, unified project for my final
scenario, and the conversation from that point film.
onwards has much added weight.
I built the idea of smoothbore around
a tense game of bluffs between these two
characters. I aim to create a narrative heavily
focused on character dynamics and intrigue,
relying heavily on the concept and drama of the
story.
PART 2.1: CLEAR SKIES
I have been experimenting with cel
animation on and off for a while now, and so
when Ellie Bailey asked me if I’d like to do some
scenes in her animation around mid-february, I
jumped at the chance. In contrast to my skills in
CG animation, my ability and experience in cel
animation is extremely limited, so this project
was a fresh challenge for me.
Ellie gave me two scenes to work on,
along with design information and preceding
animation. Producing pencil tests for her, I
found that I was far from matching her line
quality, however I could refine my keys and give
her something she could ink. I was able to get
a better idea of my weaknesses and how to
address them, while still producing work that Ellie
was happy with by applying my fundamentals.
PART 2.2: BLU
During march, Victor McCallum
approached me with a game he needed
animation for. In discussing the project we
agreed that I would need to produce rigs for the
two characters involved, as well as animations.
We planned that I would get the bulk of the work
done just before easter, but unfortunately the
project got progressively delayed, until I could
not complete all the animation I had originally
promised Victor and still have time for my own
project.
While I was still able to get several
animations into Victors game, and I was able to
animate both characters, I spent the latter part
of this project ensuring a smooth transition to
other animators. He was very pleased with the
quality of my animations, but did not want to
interfere with my project. This has been a lesson
in how important it is to keep to a schedule -
had I been able to get the work done when I
originally planned, I would have been able to
complete both projects.
PART 3: O, LEMURIA
OZYMANDIAS
Ozymandias is about our interactions with
the past. It’s about decay, perception and the
twisting of hubris. In the poem we might read that
what is dead is solemnly ironic, that the remains
of the past are a warning about how we think
of our legacy. My piece is, in part, a rejection
of those themes. It’s a celebration of decay and
anachronism. I want to say that a legacy that is
just right now can still be powerful. O, Lemuria
might argue that what is dead is dead, and that
the remains of the past are beautiful.
In trying to achieve this sense of
dialogue between O, Lemuria and Ozymandias
my strategy is to separate the viewer from
the poem in any way I can. If the audience
understands the animation as a separate but
related entity to the poem, they can think about
how the two reflect on eachother. I also plan to
systematically disconnect the animation from
any concrete setting or greater narrative and
create dissonance between solemnity and levity.
The aim of this is to help the viewer understand
that the animation is an allegorical vignette, and
to encourage them to question the most literal
meaning they are presented with.
What I am trying to do here is deconstruct
Shelley’s perceived narrative with my own non-
structural, ambiguous narrative. I am using
meta-conflict and layers of irony to do this, with
an inherently intertextual film. I am well aware of
how painfully postmodern and pretentious this
all is. If I am going to do this project justice, I
have to commit to that.
I met a traveller from an antique land,
Who said—“Two vast and trunkless legs of stone
Stand in the desert. . . . Near them, on the sand,
Half sunk a shattered visage lies, whose frown,
And wrinkled lip, and sneer of cold command,
Tell that its sculptor well those passions read
Which yet survive, stamped on these lifeless things,
The hand that mocked them, and the heart that fed;
And on the pedestal, these words appear:
My name is Ozymandias, King of Kings;
Look on my Works, ye Mighty, and despair!
Nothing beside remains. Round the decay
Of that colossal Wreck, boundless and bare
The lone and level sands stretch far away.”
(Shelley, 1818)
SET IN STONE
Starting this project just before easter is With such a limited time, it is doubly
risky. I spent a very long time without commiting important that I have a plan of attack. The main
to an idea, and while I was productive during strategy I’ll need to employ is working in as
that time, I now have a much shorter period to parallel a manner as I possibly can, and getting
get this done. That said, I am confident in my all dependencies out of the way as quickly as
abilities. What this really means is that I don’t possible. That gives me the freedom to jump
have the luxury of picking a fourth project: I back and forth between parts of the production
have to commit to this one, or give up on doing as I deem necessary. For example, the sooner
a cohesive project this year entirely. Ellie and I agree on a general design for the
In order to make a commitment, I need main character, the sooner I can start making a
to know exactly what I am committing to. model - as soon as I do that I will race to get it
After planning three different projects, I realize to the point where I can at least start the rigging
my objective is to make an animation that process. This approach has the added bonus of
feels complete. One that is visually rich and giving my collaborators as much time as they
conceptually involved. This means that in a very need to tweak and polish their work once the
crude sense, if I get the thing done on time I’ve dependencies are dealt with.
achieved my objectives.
I have a very vivid picture of what I want
in my head. Most important is if I’m satisfied
with it - that means if it looks the way I want
it to, if it pleases me when it’s on display. It’s
not a very rigorous metric for success, but
personal satisfaction just is not objective. After
that, it’s about how people react to it. Does it
provoke thoughts, or discussion? Are people
impressed by the atmosphere? Do people see it
as a complete package? This will become clear
during the show.
v

MODELING AND RIGGING

As expected, modeling is the period of

this project that takes the longest. While I have
been modeling since long before my degree, and
I can achieve good results, I have never invested
enough time to really get fast at it. Compounding
that is that I am making major design decisions
often while producing this model. By the end of
easter I have been able to produce an animatic
with my half-finished model, but I am acutely
aware that Xanthe needs a completed and
unwrapped model before she can start texturing.
Rigging can be fun. The logical process of
putting together a robust system of relationships
both challenges a very different part of the brain
to the rest of this process, and is highly satisfying.
That said, I am repurposing a rig I have used on
two previous projects here, and so the problem
solving is much less creative, having more to do
with optimization.
Alongside this, I am modeling the tower
the story takes place in. All of the visual interest
CINEMATOGRAPHY, LIGHTING AND ANIMATION
in the environment is going to come from
lighting, so I need not worry about unwrapping;
Cinematography and editing is the
the tower is not going to deform at all, so I
process I wanted to start as soon as possible,
can actually just forget about good topology
since it is here that the story is made or broken.
entirely. This speeds up the process significantly
As soon as I could get placeholder assets into
because I can use messy procedural processes
a scene with a camera I started blocking out
like boolean operations and displacement maps
shots: playing with layouts, angles and timing.
to create the majority of the geometry.
As a result, I have had enough time to make
a great many decisions and refinements even
before I start animating.
 Having got amazing textures from Xanthe,
I have been able to put together the lighting and
shaders in the scene. Arnold can be a little fussy
about setting up shaders, but the provided
API more than answered my questions. In my
experiments I found that the look I am trying to
achieve is best served with a large environment
light, and strong bounce lighting. This broadly
gives me the look I want: deep, interesting areas
of shade and intense pools of harsh, direct
sunlight. This look and visual style is primarily
inspired by the 2016 video game, The Witness.
The process of animating crept up on me.
I was doing so many animatic versions in greater
and greater detail that I realized I had essentially
blocked out the whole film already. Still, I found
great satisfaction in finally committing to the
movements I had been playing and re-playing in
my head up to this point.
COLLABORATION
The experience of collaborating on this
project is a very positive one. Each person I
work with has been instrumental to the process,
and has done work which I hugely admire. I put
a lot of effort into giving them clear direction and
making sure we’re all on the same page.
Ellie Bailey has helped me visualize for
the first time what the main character of this
piece - I refer to him as ‘the poet’ - actually
looks like. When I first had this idea I was able to
imagine the story, the light, the environment, but
not the protagonist. Ellie has been able to help
me with a series of designs that we iterate on,
being very receptive to my notes and bringing
her own imagination to fill in the gaps perfectly.
My father, Doug Gleave, has a long
history in the recording industry, and a very
‘BBC’ voice. It struck me as irresponsible not
to use this free resource he could offer me. We
have recording and editing sessions in which
we discuss the ways in which the environment
could affect the sound, and do different takes
of him reading the poem as I adjust the timing
of the film. I often find myself pushing him to
mangle the sound more and more, against his
professional instincts to keep the sound as
clean and crisp as possible. This back and forth
leads us to a healthy balance.
Xanthe Sinclair has kindly provided
textures for my models. I took extra care when
modeling them to make the geometry as friendly
for her to work with as possible. For each model
I put together a guide detailing the colours,
materials and patterns along with what kind of
wear and dirt goes where, and she applies her
considerable expertise in physically accurate
materials to make that vision come to life. Xanthe
works frighteningly quickly, and on more than
one occasion I have been unable to come up
with any notes at all, but when I have had notes
she has been able to implement them quickly
and precisely.
CONCLUSION
THE TOP OF THE MOUNTAIN
It feels very good, very natural to be
creating my own film again. Each part of this
process has reminded me of why I fell in love
with animation in the first place. Creating is
thrilling, and the medium of animating demands
such a volume of creation. Putting the finishing
touches to this animation, I find myself filled with
confidence that it will meet my standards, at
least until I start making something new. I know
this because it makes me smile when I watch it
back.
I am especially proud of my collaborators
and the choices I made in working with them
on this project. I quickly identified the areas of
the production I would need help with, and I
cannot imagine the project happening at all if I
had taken up those roles myself.
Looking back, though, I am acutely
aware of all the time I spent doing things that
were not strictly character animating. I spent
months designing, modeling, lighting, placing
cameras, rigging and rendering; I spent just
under two weeks animating. I imagine this to
be the main consequence of starting the project
late. Had I started around christmas all of the
non-animation parts of the pipeline would not
have been much more time consuming, and I
would have had much more time to animate a
significantly longer and more involved film. That
said, I am actually very satisfied with the brevity
of O, Lemuria. It is meant to be a vignette, and
the longer it got the harder would be to preserve
that timeless quality.
SET IN STONE
I went into this process with some very
vague goals, and I spent a long time trying to
identify those goals. That process taught me a
lot about exactly what it is that I want. In this
case, what I wanted was to work on an ambitious
project of my own like I used to before I started
studying at Ravensbourne. My stated goals
betrayed some conflict between ambition and
practicality, and a huge part of this was resolving
that conflict.
The predictions I made at the beginning
Similarly, I originally intended to do much
of this process are half correct. My film ended up
more performative animation than I ended up
being almost exactly half the runtime I originally
with. This was partially a practical decision: with
stated, and I made it in roughly half the time I
more limited time for animation, I had less room
would have had, had I stuck with my first idea.
to experiment with styles that I am less confident
My prediction was correct in general, but not
with. It was also a decision of preference. Parts of
in the specifics. I think more than anything else
this process, especially smoothbore, has shown
this highlights the foolishness of making specific
me that the emphasis I put on developing more
predictions about something as variable as
performative animation might be misplaced at
creativity over a long period.
the moment. I really just prefer doing kinematics
and body mechanics, and there isn’t anything
wrong with that.
I am far better off for this project. I
have cemented my generalist skill set, and
demonstrated my specialism in character
animation. I have made huge progress toward
understanding myself as an artist, and my work
captures the sense of space, wonder and light
that I envisioned for it.
BIBLIOGRAPHY
Truffaut, F (2017) Hitchcock London : Faber & Faber

Shelley, P B (2002) Shelley’s Poetry and Prose (Norton

Critical Editions)

The Witness (2016) Designed by Blow, J