These transitions are a brain twister in terms of AE workflow. I want to avoid a very long composition with the transition scene and the two other scenes that bookend it. I’ve uploaded a draft quality version of this pass. Images are from NASA site; robot animated with Dragon; composite and effects in After Effects.
This approach is a modification from the original spiral idea that I had planned. I was hoping for a nuanced indication of both interior and downward movement (into hell) but really I will be happy if the idea of any kind of transformation comes across. One of the feedback points I received recently is that it’s unclear why the stylistic change occurs at this point. I think this transition will help to clear that up. Also I should add that the other half of this transition is not posted – he opens his eyes within the new environment.
Before going under the camera tomorrow, I’m choreographing the Skeleton Bird dance in Toon Boom. Here’s what I have so far:
This scene is inspired in part by the Silly Symphony Skeleton Dance (1929). I shot it on a Canon EOS Rebel, using Dragon stop-motion software. I shot using HDR and brought the raw files sequence into After effects to pull the background key. I was pleasantly surprised to see AE recognize the HDR files and I was able to adjust the settings before importing.
A series of MX-93’s reactions filmed all in a row and without cutaways.
These animation clips are the lo-res versions using Dragon Stop Motion software. Post tweaks will include rig removal (my finger) on MX-93 and on the hat. I’ll also add the contents of the glowing monitor in post. I lit the set using three Arri lights and some blue gels. My lighting challenge was to create a diffuse field of light behind him and behind the monitor (I used a chimera attachment).