We just spent the day sorting and archiving all the traditional work from An tEarrach Thiar, Eimhin’s contribution to the upcoming Cúl an Tí project, helmed by Ross Murray & Nicole Storck at the Cartoon Saloon!
We currently have A4 & A3 scene illustrations from the film available to purchase from our online shop: LINK
An tEarrach Thiar was originally written by Máirtín Ó Direáin, with musical interpretation by Lisa Hannigan, Kíla & Fionnuala Ní Chosáin.
We look forward to announcing the screening times!
Here are two timelapses we set up for some dialogue scenes from An Gadhar Dubh.
In the second video you can see the jaw substitutions on the bottom of frame, alongside the dialogue X-sheet.
We used a similar method for all characters with dialogue, many of which needed multiple angles; so for Peadar, the main character, we have 25 mouth shapes (9 key mouth shapes with softer variations for nuanced performance) and 25 heads in a full rotation. Thankfully the heads viewed from the back don’t require jaw substitutions (we’re not that mad), but we ended up with about 440 different jaws for just that one character.
There are more posts on the processes and techniques we’ve developed for An Gadhar Dubh here: LINK
Here is a little bit more from Eimhin’s upcoming project An tEarrach Thiar, featuring a fisherman character who appears towards the end of the film.
This fisherman featured in the 1932 documentary Aran of the Saints, courtesy of the IFI Film Archive, was the basis of the below design:
A little bit of research for this scene’s location:
Here’s the layout sketch with annotations. This layout sketch went through a few iterations before getting the right level of ‘shape’ in the strata of limestone rocks on the beach.
Below is an earlier, more generic looking beach:
Here’s a little taste of Eimhin’s contribution: An tEarrach Thiar
Based on a poem by Máirtín Ó Direáin, with an original arrangement by Kíla and lush vocals provided by Lisa Hannigan, the film takes place in that golden hour, as the sun sets on a spring day on the island of Inis Mór.
You can view a previous post, featuring photos taken on a research trip to Inis Mór here: LINK
Here’s how I went about putting together one of the early shots:
Initial storyboards, roughly laying out the pertinent elements and actions involved in the scene
Layout drawing, locking down the details, and adding in the foreground element to help with framing
Timelapse of the background being painted
Final painting. The addition of some cliffs in the BG, helped to delineate the brightly lit ‘steps’ from the sky
And here it is comped in with the characters (character animation by Katie Sherlock)
Within each scene the BG painting was separated into different layers, with some clone-stamping to cover any overlap. This allows some repositioning, and addition of cloud movement in the sky, or wave movement on the water. In addition to these digital edits, some other BGs required more lighting in comp, but as this one is one of the introductory shots it wasn’t as extreme in terms of photoshop work to reign in or emphasise the painted elements.
Here are some photos of our brilliant animation crew at work:
Our singer, Lisa Hannigan, with crew members Katie & Ciara
Thanks for reading, I look forward to sharing more of this project with you in the coming months!
The sun setting over the Aran Islands, as viewed from Fanore, Co. Clare.
Funded by the Irish Film Board’s Frameworks film funding scheme and produced by Barley Films in 2007-2008, The Rooster was created using cardboard, crepe paper, tinfoil and dreamy Super 8 footage of a glittery blue velvet Night Sky.
Below are some concept images and photographs from the making of the film:
Night Sky & Dawn sequence
Pádraig and Eimhin did a bit of travelling with the film too:
Pre-production is going on in earnest on Carol’s Frameworks funded film The Bird and the Whale!
Below you can see the paint on glass animation test we created for our pitch this summer:
This test clip was created using one of our small scale multiplane setups, with three sheets of glass: the animation of the whale and the splash occurring on the topmost layer, the sea on the the middle layer and the sky on the backmost layer. For the full scale production of the film, we shall be using our large format multiplanes, with multiple layers of animation happening at once.