Our tight schedule requires us to overlap all our tasks as efficiently as possible. Final art started and everything is looking awesome! Some of Matt Hill’s shots could easily be framed. Our animator, Nick Kunin, has also begun and an additional animation spreadsheet has been created with a list of animation goals.
Nick’s first challenge was figuring out the best way to create rain in the sunken treasure expedition scene. It has to match Matt’s style of art and so we didn’t want to use the stock rain provided in the animation software. It took some time to figure out, but Nick found a great solution. Everyone stayed ‘till 11pm to make sure we hit our daily target. We left a few of the shots rendering overnight. One of the animated shots had over 20 layers of art (which is pretty complex). Luckily The Hive has some powerful equipment to handle the render.
The Alchemist Agenda has a ton of action, and since creating animated sequences is so time consuming, we had to decide where the movie would best be served with animation, and figure out less time consuming ways to keep a sense of movement throughout the rest of the film. We don’t want a handful of animated scenes to be exciting and the rest to feel static; we want consistency. So we spent much of the day discussing ways we can integrate motion so it’s seamless to viewers.
We’re committed to a three-month production schedule, soup to nuts, and have to stay within a strict budget. And because every film has its own unique needs and a style, we know we will have to make fast adjustments as we go. Test films will have to be produced timely and affordably if they’re going to serve their purpose, and we’re all hoping our methodology will serve as a prototype for future test movies.