Final notes:
1. make the black a master black file that can be adjusted in phase III or IV — work on map and send sample of HD file.
2. Hula reference provided, animators can use anything from that reference at it will be ok, don't do anything outside of reference.
3. Use provided audio place holders that are in the dropbox folder called: Hina Jared Greenleaf Shared
THIRD PASS
APR. 12
All notes addressed.
Notes:
Character-- keep to contemporary character design, avoid "cartoony" proportions.
1. Slightly thicker neck, slightly thicker upper bodies
2. Change to malo on man(looks too much like diaper, see reference)
3. No hips AT ALL for man and Mahu (btw Mahu side view is pefect as is)
4. Make tapa blacks blacker
SECOND PASS
APR. 5
All the notes were addressed sans the "darkening" of the black. I will do the darkening later tonight.
Notes:
1. Characters: Mahu and male have exact same body type. Make the male (and mahu) broader shoulders for more distinction between male and female.
2. Female hair is fine, but also throw in a couple of women with hair buns to distiguish younger and older.
3. Male, have all males wear malo.
4. Mahu, no breasts
5. kid make ambiguous by giving a ponytail or long hair (designer plays with this to see what is best)
6. Missionary, reference will be provided.
7. No wrists, pointy feet and hands (But, kudos to the dance poses, the wrists bent are good)
8. revisit the canoe scenes and try to gain more clarity—objective is for the viewer to spot the canoe men first, and everything else second.
9. Make sure storyboard compositions have a lot of areas of rest around the characters, and simplify.
10. Notes for cross scene (its great!), priest hands start down, but as he raises hands into cross, the other crosses come, one hina curiously touches cross, reacts as if she got burns, and takes off. kid is screen left on top of hill and hina grabs kid on way out.
11. downplay fire
12. darken the black without losing the texture
INITIAL CREATIVE DESIGN EXPLORATION
MAR. 30
While two design-styles are presented, the choice in not necessarily "one or the other"—it is certainly possible to merge elements from both. We tried to develop some contrast between the two designs in order to create better dialogue between you (the director) and us (the animators). If we are close to your vision, that would be great. If not, this design exploration will serve as a great visual tool to help us better understand your vision for this project.
Design 1
Design 1 notes:
Value - A wider breadth of value is used, which allows for more depth and easier compositional problem solving.
Color - A near accurate hawaiian color template is used. Black is true black, hardly any texure is present in black.
Texture - Texture is present but very minimal.
Character Design - really only pay attention to the characters as they are presented on the character sheets. In design one feet, and maybe even wrists are possible.
Also: Ignore the samoan canoe in design 1, it was fixed in design two. Also ignore Hina's pose in the bonfire scene, that was fixed as well.
Design 2
Design 1 notes:
Value/color - color is more limited in design 2, the objective was to minimize "atmospheric perspective" in order to more faithfully follow Tapa design. More emphasis was placed on pattern. More accurate, and therefore limited color palette was used.
Texture - simpler design allowed for a more heavy texture, the objective was to give more notice to the idea that we are looking at a piece of tapa, as opposed to a scene.
Character design - pointy hands and feet like was done in turtle and the shark.
