A collection of drivers read the direction of the camera and the animal, and selected which animation to show. For the bees and the hedgehogs this was even more complex… these animals had different versions depending on which way they were facing. The world was a mix of 2D and 3D – everything apart from the hills was 2D cutouts, placed in a 3D scene, and forever turning to face the camera. I did some super-rough sketches explaining how to split the animals into cutouts, and Zanita went to work painting and scanning collections of cutout elements for me to animate.ĭespite the fast cutting this was all contained within a single scene, with the camera and the greenscreen footage plane teleporting around the scene. The cutouts would be created by zanita and animated by myself. My bus commute to work is 70 mins each way, which gives me lots of time to work on projects like this. It was very cold, but I think that improved the dancing, despite the fact it was meant to be in Summer! We hired a large room in an independent gallery / studio in Sheffield for the day in November 2021, and pinned up a large sheet of papery greenscreen fabric. The increase of 2 BPM was basically unnoticeable. The BPM of 150 meant that a beat was 10 frames long, and a dance animation loop would be 10, 20 or 40 frames long, and all the animals would keep perfect time. I was able to Persuade Jonny that I could speed up the tune from 148 to 150 BPM. to animate Zanita’s illustration work and combine it with greenscreen footage. Ol’ Man Jonny and his wife Zanita, however, had other plans. My first thought was to use the then new (It’s April 2021 at this point) AI-based rotoscoping to separate the backgrounds of videos, placing cartoon characters in and around the actors. This time we wanted to mix live-action with animation. I had worked with Ol’ Man Jonny a while back on the video Armageddion Time, Using Blender Internal for Cell-Shading. This was always meant to be a back-burner project.
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