Final Animation and a Few Reflections

Here's the final version of my animation! Nothing else to be done with it now bar present it to the tutors in Monday! Changed little since the last version. Added a vignette, it's barely noticeable in the finished version and not sure if I would bother to add one to another animation unless I thought it would really benefit the piece. As for the dying thing I added to panning shot, I think it worked well as it showed the futility of life in that thicket of pillars. How harsh it is and how difficult it is to survive there (though not impossible) It also showed the passage of time quite nicely.

Another note on that panning shot that myself and my tutor noticed is that when the 5 computers were placed side by side (in the exhibition i took part in) it would have been great to see the character move from one computer to the other. As if the 5 computers were his one long path. Something to note for some future work.
Something else to note in reflection is that I should have pushed myself more to try something new. Something I didn't understand. sometimes I get so focused on a finished product that I forget i'm still in SCHOOL and it's about learning new skills more than anything. That's why during summer I want to learn what's so fantastic about Flash. I'm going to make my new project a Flash project. I'll create a style that's suited to it. After my tutor being so adiment about us using it this year and the visiting lecturer Jason Tamagatchi also saying how useful it is, I want to see what all the fuss is about. And I might be late to the game but I have the time over summer now to get stuck in. Having said that it's not like I ever made backdrops in chalks and animated frame by frame on top on top of that before. But I UNDERSTOOD the process. So perhaps something that will present more challenges next time.
Also I think my research needs work... But I'm not too bad at it. I enjoyed watching films this semester to achieve a good research base. But I think i can still improve at it. I can always improve. Perhaps broaden my horizons.. Look at more than just films/ animations. Painting, SCULPTURE, architecture, comics that sort of craic.

Still not done!

So here's a few experiments I did with the end title. I wanted to reflect what had happened in the animation preceeding it and better the composition of the ending frame. The text is now more in line with the seat and the text is smaller so that it is not more dominant over the image. I have decided to use the last version as it shows what happened in the animation (that is) one ariving to the end destenation before the other, it's better composed than the rest as all the text is in a line with the seat and it doesn't take away from the imagery. I also added the ease to make it seem a little more natural.

Version 01 of Animated Short Less Travelled

So here it is the first version of my animation. I WILL be going back over the next few days to add more such as: 

• Shadows characters (just to give them a bit of weight)
• Giving more depth to the animation by pulling characters forward and adding Camera Blur
• Moving the camera more. The camera is static for a lot of the shots and the shots where it moves even only very slightly come to life a lot more. 
• Adjusting the audio levels. I need the music at the beginning to be more audible and the music there after to be less audible.
• Add some sound effects like wind,crowd noise in the village, foot steps, perhaps small pants/ groans from the main characters. 
• And change type at the end. Also that shot needs to be composed better.
• and so on an so forth

YAY! But still so much work to do! Oh well could be worse I suppose, I could have exams to do!! hahahahahahahahahahahaha I'm happy.

Tired

Make no mistake.. animating is hard. and tiring and I've been sitting here for 8 hours and I'm hungry so once I saw my drawings were getting crap and ridiculous looking I decided it's time to go home and get FOOD. Anyway this is what I did this morning when I was still fresh. Camera lens blur for the win!

Another Shot Preview

This is the very end shot of my animation. Just thought I'd upload it and say that I'm very nearly done a basic animation. My aim is that by next Monday I'll have an animation I COULD presents but not with any of the spit and shine I would like it to have. That's what next week will be for. Wether finishing off the basic first version runs into next week or not I WILL have time to go back and polish up the whole thing. Finally caught up with where I want to be on my timetable and all. In fact very slightly ahead of it.
Think I will change the type in this again. Not to happy with how it looks as of right now. I liked what I originally had but I'm kind of sick of it and need a change.
The clothes moving in the wind was something I thought of half way through animating and I'm glad I've included it so much now. It just means an image is never still and therefore boring.

shot Preview

A shot I am proud of! Loads of help from Richard William’s book Animators Survival Kit. God I love that book.

15 Second Folio

Just a quick 15 second folio of what I see as the best work I have done so far. Including life drawing, background work, finished and unfinished work. 

If interested most of these finished animations are on my blog somewhere or else on my website: colm-connaughton.com

More Backdrops!

Here's some more backdrops for you to gander at. The blue chalk pastel I was using before hand ran out and this shade was the only blue stick of chalk I could find in the entire city of limerick! Either way I prefer this blue. Again feeling very proud of the work I've done so far. But seriously feeling the pressure with time before summer just slipping away from me. Best stop blogging and get back to it!

Backdrops!

Here's the first 3 backdrops I've created for my animation. I have to say I really love how they turned out.
It's a long slow process of tracing images and colouring them in using chalks. I've already run out of the shade of blue I've been using and have to hope I can make the new shade I have similar on the computer. But hey it's aaaallll about the learning in the end I guess.
 Things I have learned about making these are to make a greater contrast between shades. They were previously much more flat. They looked quite dull. I just have to be more brave. For the next ones I have to make sure I don't leave a mark on the page underneath.
I'm also going to alter them on the computer by darkening them more and upping the contrast even further possibly.

I am very proud of them I can't deny and I'm ecstatic to see how they look once the characters are there interacting with their environment!

Scene Analysis - Perfect Blue

Perfect Blue (1997) is a Japanese anime directed by Satoshi Kon who also directed Paprika (2006). Perfect Blue deals with similar themes to Paprika, a blending of reality and a dream world.

I have chosen the scene where the Dream Mima (who is still a J-Pop idol and dressed as such) enters Mima's room through the website Mima's Room. (38:37 - 40:40)

Characters
2 characters present in this scene. Well technically 3. Those are Mima, Mima's Dream self (dressed in J-Pop attire) and I suppose one could Rumi is also present as she is impersonating Mima all the time. We see Mima is beginning to unravel. She is merely a shell of her former bubbly self. The stress of changing her career has taken it's toll on her. As has the struggle for power between her agents over her career and the strange website that documents her life in precise detail. She has taken on the role of the tortured actress. Unable to differentiate between what's real and the characters she plays and the situations they find themselves in. She plays someone with a multi personality disorder so she begins to thinnk she also has the same condition.

Dream Mima (or Rumi) is fueling Mima's breakdown. Telling her she is no longer worth of being a pop idiol. No more than a "dirty slut". She is the exact opposite of Rumi. She is beautiful, elegant and aggressive. Where as Rumi is fat and passive. Rumi sticks out along with Me-Mania as having these oddly positioned eyes. Close to the side of their heads.

Setting
I think the room represents a clashing of the 2 selves.  The room, often refered to as Mima's Room, is Mima's safe heaven And then there's the website also called Mima's Room which is seemingly how Rumi lives out one of her lives.

Mise-en-Scene
Clearly Mima is tired. Her hair is messy her clothes are baggy and dirty. Also the film return to this bedroom scene several times and everytime it is being more and more cluttered with things. Mima's messiness is emphasised through the juxtaposition with Dream Mima who is still a perfect J-Pop Idol with an angelic glow about her.
When on the screen of the computer Dream Mima's movements are diconjointed. She jumps from one position to another without a tween. This could be showing how Mima's perception of reality is now starting to fall apart.

Camera

1. close up of computer
2. wide shot of mim and room
3. panning shot of text
4. close up mim
5. panning shot of text
6. close up of mima
7. computer screen
8. close up of mima
9. over the shoulder of Mima at computer screen
10. close up of Mima
11. Over Mima's shoulder at computer
12. Half shot of Mima
13. Half shot of Dream Mima
14. Close up of Mima
15. Wide shot of crowd 
16. Wide shot of Dream Mima
17. Down low camera angle and over the shoulder of Mima onto Dream Mima
18. High up looking down over the shoulder of Dream Mima onto Mima
19. Wide shot of room
20. Close up of Mima
21. Close up of Dream Mima

All the shots are very confined. The charcters rarely fully fit onto the screen. This could be to create a sense of madnees in Mima OR (and probably more likely) they are staying true to the confined sapce of the tiny apartment she lives in. They could have shots looking through the roof/ walls to get the whole room in view but the director made the concious decision not to do that. It could also be that the film was originally going to be a live action movie and working in a small space like that wouldn't allow for much room in the shots so perhaps they just never changed the story boards to suit the new animated direction the film took.

Creating 3D Sets

Here's a small selection of some of the shots I took today in creating my set. Also some examples of how it was lit up.

More Concept Art

I did some more concept drawings. This time fully by hand and not on the computer AT ALL. It's been a great help to go back to the sketchbook for a time I now pretty much know how I will achieve the look of my animation. My current plan for the back drops is to make the pillars from card in 3D first, photograph the sets, draw outlines over them in illustrator or with tracing paper, colour them in with chalks and scan them back in. Anyway here's some of the concept work that led me to this process.

Animatic - Less Travelled

Here's the animatic for the short animation I've been working over the past few weeks. In my group crit a few suggestions were made to me. I'm probably going to make the following changes:

• I'm going to remove the quote. It was deemed to b unnecessary by both myself and my others.
• The sign will stand out more to make sure the viewer knows he is continuously returning to the same point
• In the shot where the camera is panning along with him walking I'm going to include something for him to pass that isn't pillars. Something that will stand out and tell the viewer he keeps passing that same point.
• Time passing (A year) shown by seasons or just day and night. (Side note: no one picked up on that his robes fit him more comfortably by the end)
• Add a glint to the coin or something a kin to that to let the viewer know it's a coin.
• Cut to a close up of the son's face when he's torn about which direction to go.
• In the end frame, instead of fading out the son and fading in the title I'm just going to fade in the title and leave the 2 side by side. 

Over all happy with the reaction my animatic got. People got different readings from it which I was delighted about to say the least. 

Right now I'm deciding on how I'm going to create this animation. I think the process for making the backdrops will be something like: Make pillars from paper, arrange them i the way I need, trace over them in Illustrator, place a charcoal/ chalk texture over that and go over that in hues of blue in Photoshop. Going to try and simplify this process though.

Music is hard....

Music for me has been difficult to get right. I thought I had it in the Percussion Trio I previously blogged but as it goes that style was deemed "repetitive". And to be honest when asked "Why did I like this song I have chosen?" I couldn't really answer. That should be indication enough that it's not the right choice So here's some other Film Soundtracks I've looked at.

https://www.youtube.com/watch?v=ijCcRWNwieg

https://www.youtube.com/watch?v=9bN-uD43ig0
The Road soundtrack probably isn't right because it's the end of the world and kind of gloomy. Very gloomy actually.

Pillars

I made more pillars with the intention of drawing over them today. The pillars I was drawing from my head were too perfect and symmetrical looking. Often they looked something like a city sky line. However when I make them by hand and then trace over photographs of them in Illustrator I get a more accurate hexagonal pillar. The angles look right and they're imperfect which makes them look more natural.
Here's a selection of what I did

Music Research

Just found that the duo I was looking at before hand also has a 3rd member thogether they're called Ensemble Evolution. Here's a link to their website containing 6 songs they performed inspired by the tree houses in a tree house hotel in Sweden.
I'm thinking of using Clone for the Blue Cone and The Cabin. Both kind of slow, but the latter is especially great because it has this haunting vocals which I think could work well as long as it was kept to a low volume.
http://ensembleevolution.bandcamp.com/

Extra Storyboard Panels

I added a few extra panels to my storyboard today.
The first is going to go at the very beginning of the animation. It's the last few lines from Robert Frost's poem The Road Not Taken. I looked at it before as research but recently I had a seminar on Intertextuality which is the use of one text to inform the readers understanding of another text. Texts in this case can be anything which can be read, films, advertising, paintings, photography, comics, music, poetry etc. So I am using this quote to inform the readers understanding that it's about the choices one makes in their life.

The next is frame 22 1/2. It's a cutaway, just a shot to inform the world I have created. It's a close up of a fallen pillar. From the gap the fallen pillar can be seen more of the blue bio-luminescent light that's generally mostly blocked by the pillars.

Frame 45 1/2 is another cutaway but this time it's a shot of the goat in the pen beside Father where he awaits the return of his son. The goat is draped in a velvet cloak with a similar mark to that found on the coin. I added this to show that goats are worshiped in their community.

The final new image 49 1/2 is included out of necessity more than anything. I forgot to include the fact that he walked down the road to the left in the first storyboard and needed to include it for clarity. 

New style

Here's 3 new images concerning the new direction my style has taken. I want to create a 1 to 2 coloured world. This will mean I have to concentrate on tones/ values and intensities rather than colour. For the majority I will be sticking with Blues, blacks and whites. This will mostly occur within the thicket of pillars. However I'm not sure yet as to how the outside world will look. I may just make it blue as well and forget about the blue light being emitted from between the pillars entirely.

The first is my 4th poster. From this I learned I'm not very good at working the intensity. But I'm learning. Should be fine. As a digital it's actually okay, but when I printed the hard copy it came out quite dark and everything was pretty indistinguishable from each other.

Then there's this piece of concept art I did. I tried blurring the background in Illustartor. It does make the characters pop out more. But it was pointed out a (and is true) that it just looks like it was scaled up rather than blurred. Still not really got it nailed down then. Also don't really like the sharpness of the shadows on the characters.

Actually hate this last piece. It's so crap. The pillars at the forefront look like a city scape, the ones in the background are horribly perfect and rigid the ones to the left stick out like a sore thumb and the 2 versions of the son look completely off. Enjoy.

Soundtrack Research

http://www.youtube.com/watch?v=b9kGhXOzxts

Currently researching some ambient music for my animation. It doesn’t get more ambient/ melancholy than Minecraft. Something like this would be great. But maybe a little less electronic and more acoustic. Still going to look for something using bells/ percussion. In an interview C418 (the composer of the Minecraft soundtrack said: "Minecraft" was the first song he wrote for the game and described as "Slowly building up over time, then vanisghing completely" Which kind of describes my animation.

http://www.youtube.com/watch?v=FgfBdRTXqjc

Looking at minimal music. Still finding a lot of techno/ house music. This is the first I’ve found of something where it’s percussion/ acoustic based. They are Maria Finkelmeire (great name) and Jacobs Reminton (another fantastic name) Going to flick through the hour or so set and see if there’s something slower I could use.

Not really into the xylophone thing. But they have a great piece there with just drumsticks on the floor.

http://www.youtube.com/watch?v=VUQcl0TXWLA

CLASS opening! By one half of the previous video.

http://vimeo.com/21565069

By the same guy again, love the middle piece. Thinking of mixing and matching pieces from across this guys portfolio.However,  sound quality is so low at times that it could be a problem.

 

 Reblog

Tracings

Today I traced over some of the cardboard models of the pillars I made a few weeks back. I did this because the pillars I had been creating were very perfect looking. They almost looked like a city scape. By using the real life ones as a direct reference I was able to get a much more natural look. In both perspective and shape.
Once I hade a few done I played with the colour, light emissions and textures.
This could be a much more interesting approach to the settings.

Storyboard for Animated Short, Less Traveled

This is the storyboard for my animated short Less Traveled. I tried to keep the writing descriptive to give one a feeling for the characters and their situation.

 This has given me a good sense of what the pacing will be like. But of course, things are likely to change. I have noticed points that need more shots to explain things better like after he picks up the coin I need to show him walking down the path to the left in the first place. 

I'm also going to include cutaways (I small shot to inform the world) especially in the village. Perhaps an over pampered goat there. 

Nemesis - Page Analysis

I've chosen to analyse the very last page of the 4th comic. In it we get a glimpse of the man pulling the stings behind Nemesis as he sits on a secluded beach sipping on a glass of red wine.

Character
The one and only character visible in this page is the man behind Nemesis. He is essentially the main antagonist of the serise, Nemesis being his puppet, a vessel  for his horrendous deeds. Just from the brief glimpse that's shown I see him as being a suave, self-satisfied man. He has a self satisfied smirk on his lips as he takes the first sip of his wine. It's quite arrogant of him in a way to send that bottle of wine to Blake and to sit on a beutiful place sipping the same bottle of wine at the same moment in time as Blake and his wife.

The only other character slightly present is the waiter who has the line "..... he delivered these 10 years ago." It just goes to show how insanely clever and manipulative the man in the chair is. He had to manipulate Blake's choices somehow so that he would end up at that resort on that exact day.

Setting
He's some ways away from Blake, evident that they're in different time zones. The setting informs the character further. He's a little clichéd and for lack of a better term, pompous. It seems clichéd to sit on a secluded beach (which he more than likely owns) sipping wine and watching the sun set to celebrate outsmarting a man he never even met.

Mise-en-scene
There's the obvious connection of the bottle of wine he's sipping and the one he sent to Blake. They probably are the same kind of wine. On the previous page the lighting of the restaurant, even though it's the blackness of night outside, is a similar orange to the setting sun he sits in front of. This further connects the 2 characters and settings.

Shots

1. Establishing shot of the secluded beach and ocean.
2. Extreme close up of the wine and mans lips.
3. Wide shot of the area

The shots are very obscured, giving us only glimpses of the man behind Nemesis. The artist is keeping the unseen villain unseen. Nemesis was scary, yet often cool and I even rooted for him at points through out the comic. However, this man is much more terrifying than Nemesis could ever be and part of that is that he's never fully seen. This end page is using a basic fear of the unknown to full effect and not letting you see who was destroying lives all around. 

Some Storyboard

These are a few select images from my storyboard. These are from the very beginning when they have just come to the fork and are trying to decide which direction to take.

 The son has changed a bit since I last uploaded anything. I squared up his jaw and unhooded his eyes. It was an effort to to make him look less evil and more like his father. I think the nose will still change so that they are more similar. But I think the connection of father and son can be made easier now. 

2001: A Space Odyssey Scene Analyisis

I've chosen the scene in 2001 where Victor Kaminsky (I think that's his name) is exercising in the circular room 53.54 - 55.00. This scene is very much focused on the set and the set is what atrracted me to analyse this scene. I still can't qute understand how it's done.

Character
There's only one character in this entire scene and that's Kaminsky. He doesn't even speak bar some grunts. So we find out very little about him other than he takes his job as a space traveler seriously by keeping in shape in Zero G.
However something I noticed is that there is a very distinct lack of extras. In the scene previoulsy we see the space ship is massive and there's plenty of chairs and control panels in the circular room but no one to man them. The me this emptiness is reflecting the emptiness of space outside of the ship.

Setting
I think this circular room is used to show how fast technology is progressing. In just 18 months they have developed Artifical Gravity technology.  In an earlier scene we see a pen floating around in a space shuttle and the "Space Hostess" has to walk down the isle using velcro on the bottom of her shoes and it was actually quite difficult for her. Now they are able to freely move and even exercise without any help or restrictions. The cirular room allows them to show, in a very dynamic way, that they now have the ability to walk on any surface using the Artifical Gravity.

Mise-en-Scene
The multiple empty chairs suggest that they're low on peronelle for this mission. This is reinforced by the dead silence of the ship bar the lonely grunts of Victor. Or perhaps it is foreshadowing to HAL who can control everything on the ship. However that doesn't explain why they built the chairs into the ship in the first place if they weren't needed.
I thought the chambers where the rest of the crew were in hibernation were coffins at first. But becaue I couldn't see anyone through the small windows I thought they were empty coffins as if this mission was so dangerous they had the coffins just in case.
The gravity is so strange, it's not pulling things DOWN but kind of AROUND. Gravity affects the circle in all directions.
Camera

1. Wide and panning
2. Full body tracking
3. Close up
4. Extreme Close up tracking

These shots seem to be used to show off the complexity of the location, that Victor can run around and around without falling down due to gravity. 

Sound
To be honest when I listen to the scene but dont watch it, it sounds like what it is, someone exercising. However the lack of anything else really suggests loneliness to me. This is backed up by the melancholy music.

Finished Script for Purposes of Treatment File.

EXT – ROAD – MIDDAY

The area is lit by a cyan light emanating from between the hexagonal pillars that line the road. The light is coming from the weird bio-luminescent flora and fungi that thrive between the pillars unseen. Particles of pollen from the plants beneath fall to the ground. The entire landscape is a game between light and shadow.

We join our characters standing before a sign on a wide road. It could comfortably fit a merchant and his cart. This large road however now forks off into 2 smaller roads. On the fork there is an old wooden sign jammed into the road tilted and rotting. It reads “Tanah Air”. Underneath the sign are 2 arrows pointing in opposite directions. Tanah Air could be in either direction they don’t know.

They regard the sign in confusion and weariness. Their journey has been long and they have got lost or held up many times along the way. Now all they want to do is return home.

The SON begins to walk down the road to the right but is stopped by his FATHER who grabs him by the hood of his robe. Father half drags Son toward the left road. Only for SON to struggle free from his vice like grip.

They look at each other disgruntled. They’re stuck. They have been by each other’s side for such a long time that it doesn’t occur to them that they could conceivably split up.

FATHER gets an idea. Being an excitable man he retrieves a coin from his pocket. He showcases it for his son. He shows him tails and points toward the left road. He shows him the heads side and points towards the right road. There’s a grin of self-satisfaction across his face. Nothing gives him greater pleasure then coming up with a viable solution.

He flips the coin. It hangs in the air for a moment they let it fall to the ground. It’s tails. FATHER has won. FATHER is bent over the coin, their heads are level. He smirks at his son. He relishes in the small victory over his son. SON looks at his father in impatience. He pretends to drop the issue as if it never really mattered which side it came up anyway. He walks down the road he originally chose with conviction. FATHER takes a breath of air to call after him but realises both paths eventually lead to the same place and it doesn’t really matter which way they travel. Though because they are still as stubborn as each other, (even if father doesn’t show it) he makes his way down the left path the one he had chosen.

They are now separated from each other by a thick forest of rock and flora.

EXT – SMALLER ROAD – DAY

SON now on his own walks the path with little interest in his surroundings or in actually getting to their destination quickly. He has his head down to the ground. He looks up once to notice that he has approached the same fork in the road for a second time. In disbelief, he makes sure the sign is the same sign and comes across his father’s coin still lying on the ground. He returns to the path, fobbing it off thinking he must have taken a wrong turn in his absent mindedness.

There’s a moment where nothing is happening on screen. The boy yet again approaches the fork for a 3^rd time. He doesn’t hesitate this time he just heads down the road to the right. He looks worried.

EXT – CLEARING – EVENING

FATHER is standing in the clearing where the road emerges from the thicket of pillars. Behind him is a wide expanse of plain and the faint outline of a village, which is presumably “Tanah Air”. He looks at the sun setting in the west then to the village then back to the roads. He’s unsure of where his son is or even which road he could take if he were to back track. He decides it better to check if his son has already reached home. After all, he didn’t seem inclined to stop and wait for his father any longer.

EXT – ROAD – NIGHT

SON is now more relaxed about looping around. He is too stubborn to believe his father is right. He believes his choice is the only way. At times during this sequence there are 2 or 3 variants of SON on screen at the same time each one doing slightly varying movements, gestures or interactions.

EXT – ROAD – WINTERTIME – DAY

It’s colder. SON gathers robes around him to shield himself from the bitter air. The pollen has been falling consistently since he started through the area and has now began to gather in little piles.

EXT – ROAD – SPRINGTIME – DAY

The pollen is being blown down the road by a harsh wind. The wind is blowing against SON making it difficult for him to continue forward.

EXT – TANAH AIR STREET – SPRINGTIME - DAY

FATHER is sitting on a bench outside what could be their home. He looks up and down the road expectantly. The streets are quiet. A mother walks past with her 4 young children.

EXT – ROAD – DAY

SON has come to the same fork again. He’s lost count of how many times he’s come to it. He stops for a moment and looks down the left road. The road his father had chosen. He inches towards it, but shakes off the idea of changing course and whips back to his original path with even more conviction than he did all those months ago. In doing so he kicks up the coin that had been buried in dust and dirt over the months. He doesn’t notice it.

EXT – TANAH AIR STREET – DAY

FATHER has his back turned. He’s working on something unseen. Yet he still glances up and down the road searching for his son.

EXT – ROAD – DAY

SON approaches the fork yet again, nothing unusual until he notices the coin protruding from the earth. He picks it up and turns it in his hand. He’s exhausted. A year has now passed since he’s last seen anyone. He misses home and his father. With a sigh he takes his first steps on the path his father walked all those months ago.

EXT – CLEARING – EVENING

Son passes the same spot his father stood worrying for his safety

EXT – TANAH AIR STREET – DUSK

SON walks to his father’s bench. He is visibly older in spirit and age. His body has slightly filled out and now fits perfectly into his robes. He sits beside his father who is still waiting. Neither acknowledges the other much.

FATHER turns to look at his son in relief and tiredness. The past year has been nothing but stress without him. Son is looking ahead of him. FATHER puts his arm around SON and rests it there. FATHER fades. His spirit awaited the return of his son. Once he has completely faded, SON looks up at where his father’s face was. He picks himself up from the low bench and walks off screen. 

Treatment File

Here's my treatment file. Now bare in mind I never really used InDesign before but I just wanted to at least try it instead of just firing it up on the blog. Achieves the same thing in the end really. This will be a bit of a repost, I'm going to include my 3rd poster and Setting Visual Studies as well as the Treatment file.

Also while I remeber here's the link to some of the music I was inspired by.
Lostwinds OST