Rare's cinematic image dump v11.3 (**SPOILERS**)

Here's the planning txt I was working from and updating as I went. The numbers near the beginning are per-scene frame counts where I inserted time pauses (in seconds) in final editing.

You'll see a few differences between this and the final cut. Niobe's "Jesus Christ" line, for instance, got cut because I ended up without a good way to fit it in at the right time while still looking like it was coming from her--making it clear who is saying what is a significant issue when you don't have recorded voices to back you up.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

900 frames, 90 seconds

1a
pause after captions gone

1b
75(end): 2.5

2
1: 2

3a
1: 1
21: 1
40: 0.5
46: 0.5
60: .8
80: 1
82: 1
84: 1
114: 1
115: 1.5
119: 1.5
121: 1
125: 2
145: 2
150: 0.5
152: 3
174: 0.25
175: .5

3b:
107: 1
108: 1

3c:
10(end): 1

3d:
1: 2
2: 3
3: 2
63(end): 5

4a:
1: 1
2: 1
3: 1
79: 1

4b:
11: 0.5
12: 0.5

4c:
1: 0.5
2: 2
3: 1
25: 1
75(end): 2

5
1: 2
10: 1
11: 1
22: 1
23: 0.5
24: 0.5
25: 1
36: 0.5
37: 0.5
46: 1
67: 1
68: 1
69: 0.5
70: 0.5
71: 0.5
72: 1
133: 2
147-151(end): 1


scene 1 (150 frames)
(merv ref: http://forums.station.sony.com/mxo/..._id=36300025944 )
(general ref: http://forums.station.sony.com/mxo/..._id=36300020669 )
- (~10 frame 11.3 caption overlay)
- close up of computer screen: bip message from merv 11.2.5 ("Wake up.")
- Merv is looking at it in annoyance
- Gen hologram phases in, says they've got the android thing
costume ref: http://forums.station.sony.com/mxo/..._id=36300020669
- Merv has him put it up on the holographic display
- Merv looks at it, grins slowly--"impressive..."

~~~~~~
Merovingian.

My Sentinels have completed retrieval of the android.

Ah?

While slightly damaged, it appears to be intact.

As you can see, the mechanisms are complex.

This is not, however, Machine technology.

Impressive...
~~~~~~


scene 2 (90 frames)
(shimada ref: http://forums.station.sony.com/mxo/...895#36300474586 )
- shimada, hovercraft deck, looking at face on transmitter screen
- s: how is he?
- f: he won't be winning any beauty pageants, but he'll make it.
we'll be in broadcast range in a few days. do you want me to--?
- s: no. I'll do it

~~~~~~
How is he?

He won't be winning any beauty pageants,
but he'll make it.

We'll be in broadcast range in a few days.
Do you want me to--

No.

I'll do it.
~~~~~~~

scene 3 (300 frames)
- hovercraft, shimada jacked in
- door opens, crafty looking woman creeps up to the chair (100)
- v: they're all off in no-man's land...
- v: nobody to watch over you while you sleep
- v: now where would you hide that code the Oracle gave you...
- crewman appears in doorway, startled: you!
- v grins
- c: stop! (200)
- v yanks shimada's jack out, slices its cable
- v: kept it warm for you, dearie
- v hurls the jack into the crewman's forehead
- crewman collapses as more crew members arrive: veil!
- veil laughs as she vanishes back through the opposite doorway

~~~~~~~
They're all off in no-man's land...

Nobody to watch over you while you sleep.

Now, where would you have hidden that code
the Oracle gave you...
~~~~~~~

~~~~~~~
You!

No!

Kept it warm for you, dearie.

- Veil!
- Stop her!
~~~~~~~

scene 4 (200 frames)
- wright floats between skyscrapers, moving slowly over downtown
- gray is watching grimly from a rooftop with another agent, or maybe an operative
- g: the program?
- o: we're picking up blips all over the city. still trying to isolate it, sir.
- g scowls
- o: sir, should we--
- g: no.
- wright floats toward the wall of a skyscraper, it warps inward, making way for her to pass through
- g: keep your men back.
- wright floats out the other side and continues across the city at the same slow, steady speed
- gray scowls even grimmerlerlier
- g: find the program...

~~~~~~~~
And the program?

We're picking up blips all over the city.

Still trying to isolate it, sir.

Sir, should we--
~~~~~~~~

~~~~~~~
No.
~~~~~~~

~~~~~~~
Keep your men back.

Find the program.
~~~~~~~~

scene 5 (150 frames)
(niobe ref: http://forums.station.sony.com/mxo/..._id=36300025614 )
(ghost ref: http://forums.station.sony.com/mxo/..._id=36300024976 )
- close up of bip message from merv 11.2.5 ("Wake up.") on a computer screen
- niobe is watching it, with ghost behind her
- n: the interface program?
- the message, which had paused, refreshes
Wake up, Neo. [letters spelling out in sequence]
- n: jesus christ
- the message suddenly floods the entire screen
Wake up Wake up Wake up Wake up Wake up Wake up Wake up [...]
- n: ghost--
- ghost is already hyperjumping high above the city, his face set in a determined mask

~~~~~~~
The interface program?

Jesus Christ.

Ghost--
~~~~~~


end (10 frames)
map zooms in on spot in on W Hampton Green

-490 13 20

cloudwolf wrote:

Vinia wrote:

Is Veil sporting a new do?

Remember this is in the real.

Yeah, Chloe already drove that point home earlier. /duh

Rarebit wrote:

Here's the planning txt I was working from and updating as I went. The numbers near the beginning are per-scene frame counts where I inserted time pauses (in seconds) in final editing.

You'll see a few differences between this and the final cut. Niobe's "Jesus Christ" line, for instance, got cut because I ended up without a good way to fit it in at the right time while still looking like it was coming from her--making it clear who is saying what is a significant issue when you don't have recorded voices to back you up.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

900 frames, 90 seconds

1a
pause after captions gone

1b
75(end): 2.5

2
1: 2

3a
1: 1
21: 1
40: 0.5
46: 0.5
60: .8
80: 1
82: 1
84: 1
114: 1
115: 1.5
119: 1.5
121: 1
125: 2
145: 2
150: 0.5
152: 3
174: 0.25
175: .5

3b:
107: 1
108: 1

3c:
10(end): 1

3d:
1: 2
2: 3
3: 2
63(end): 5

4a:
1: 1
2: 1
3: 1
79: 1

4b:
11: 0.5
12: 0.5

4c:
1: 0.5
2: 2
3: 1
25: 1
75(end): 2

5
1: 2
10: 1
11: 1
22: 1
23: 0.5
24: 0.5
25: 1
36: 0.5
37: 0.5
46: 1
67: 1
68: 1
69: 0.5
70: 0.5
71: 0.5
72: 1
133: 2
147-151(end): 1


scene 1 (150 frames)
(merv ref: http://forums.station.sony.com/mxo/..._id=36300025944 )
(general ref: http://forums.station.sony.com/mxo/..._id=36300020669 )
- (~10 frame 11.3 caption overlay)
- close up of computer screen: bip message from merv 11.2.5 ("Wake up.")
- Merv is looking at it in annoyance
- Gen hologram phases in, says they've got the android thing
costume ref: http://forums.station.sony.com/mxo/..._id=36300020669
- Merv has him put it up on the holographic display
- Merv looks at it, grins slowly--"impressive..."

~~~~~~
Merovingian.

My Sentinels have completed retrieval of the android.

Ah?

While slightly damaged, it appears to be intact.

As you can see, the mechanisms are complex.

This is not, however, Machine technology.

Impressive...
~~~~~~


scene 2 (90 frames)
(shimada ref: http://forums.station.sony.com/mxo/...895#36300474586 )
- shimada, hovercraft deck, looking at face on transmitter screen
- s: how is he?
- f: he won't be winning any beauty pageants, but he'll make it.
we'll be in broadcast range in a few days. do you want me to--?
- s: no. I'll do it

~~~~~~
How is he?

He won't be winning any beauty pageants,
but he'll make it.

We'll be in broadcast range in a few days.
Do you want me to--

No.

I'll do it.
~~~~~~~

scene 3 (300 frames)
- hovercraft, shimada jacked in
- door opens, crafty looking woman creeps up to the chair (100)
- v: they're all off in no-man's land...
- v: nobody to watch over you while you sleep
- v: now where would you hide that code the Oracle gave you...
- crewman appears in doorway, startled: you!
- v grins
- c: stop! (200)
- v yanks shimada's jack out, slices its cable
- v: kept it warm for you, dearie
- v hurls the jack into the crewman's forehead
- crewman collapses as more crew members arrive: veil!
- veil laughs as she vanishes back through the opposite doorway

~~~~~~~
They're all off in no-man's land...

Nobody to watch over you while you sleep.

Now, where would you have hidden that code
the Oracle gave you...
~~~~~~~

~~~~~~~
You!

No!

Kept it warm for you, dearie.

- Veil!
- Stop her!
~~~~~~~

scene 4 (200 frames)
- wright floats between skyscrapers, moving slowly over downtown
- gray is watching grimly from a rooftop with another agent, or maybe an operative
- g: the program?
- o: we're picking up blips all over the city. still trying to isolate it, sir.
- g scowls
- o: sir, should we--
- g: no.
- wright floats toward the wall of a skyscraper, it warps inward, making way for her to pass through
- g: keep your men back.
- wright floats out the other side and continues across the city at the same slow, steady speed
- gray scowls even grimmerlerlier
- g: find the program...

~~~~~~~~
And the program?

We're picking up blips all over the city.

Still trying to isolate it, sir.

Sir, should we--
~~~~~~~~

~~~~~~~
No.
~~~~~~~

~~~~~~~
Keep your men back.

Find the program.
~~~~~~~~

scene 5 (150 frames)
(niobe ref: http://forums.station.sony.com/mxo/..._id=36300025614 )
(ghost ref: http://forums.station.sony.com/mxo/..._id=36300024976 )
- close up of bip message from merv 11.2.5 ("Wake up.") on a computer screen
- niobe is watching it, with ghost behind her
- n: the interface program?
- the message, which had paused, refreshes
Wake up, Neo. [letters spelling out in sequence]
- n: jesus christ
- the message suddenly floods the entire screen
Wake up Wake up Wake up Wake up Wake up Wake up Wake up [...]
- n: ghost--
- ghost is already hyperjumping high above the city, his face set in a determined mask

~~~~~~~
The interface program?

Jesus Christ.

Ghost--
~~~~~~


end (10 frames)
map zooms in on spot in on W Hampton Green

-490 13 20

I wish I understood Flash better.

Rarebit wrote:

- gray scowls even grimmerlerlier

Great word!

Vinia wrote:

cloudwolf wrote:

Vinia wrote:

Is Veil sporting a new do?

Remember this is in the real.

Yeah, Chloe already drove that point home earlier. /duh

I had some fun coming up with how Veil and Shimada would look in the Real. I didn't want to give them radically altered bodies or anything like that, but Veil looks different without her glasses and makeup, she's probably a little leaner or more wirey, which was an attempt to give her a more "Real-istic" physique--showing muscles from hard exercise and a thinner face from maybe subsisting on synthesized chicken-flavor, and I thought it would be an interesting contrast too to give her short dark hair in the Real, vs the long white hair on her RSI, and her costume is black rather than white, and doesn't have any non-utilitarian additions like flowing coat tails or high heels. It is quite a bit different from the usual redpill garb, though, which also serves to illustrate that her source of equipment is not Zion.

Shimada's costume is closer to the standard torn sweater and dark sailor pants Zion sported in the movies, except that I couldn't resist giving her more stylish pants that are closer to her RSI. I didn't change her hair length as much as Veil's--only shortened it a bit--but pulled it back in a ponytail so that it looks different--you see her forehead rather than her RSI's long even-cut bangs, which I thought gave her a more hm monkish or at least serious appearance--and more suited to wearing on a combat ship.

You know, If they had the same looks, I wouldn't have really have really thought much on it, but I'm very glad that you (and the others who had to remind me) remembered this detail and really gave them an appropriate look.

Rarebit wrote:

I had some fun coming up with how Veil and Shimada would look in the Real. I didn't want to give them radically altered bodies or anything like that, but Veil looks different without her glasses and makeup, she's probably a little leaner or more wirey, which was an attempt to give her a more "Real-istic" physique--showing muscles from hard exercise and a thinner face from maybe subsisting on synthesized chicken-flavor, and I thought it would be an interesting contrast too to give her short dark hair in the Real, vs the long white hair on her RSI, and her costume is black rather than white, and doesn't have any non-utilitarian additions like flowing coat tails or high heels. It is quite a bit different from the usual redpill garb, though, which also serves to illustrate that her source of equipment is not Zion.

I love your interpretation of Veil. Really conforms to her impish/tomcat-like personality. And the way you did her grins reminded me (somehow) of Mad Pierout... I really dig it.

In fact, everything from this video except for the short clip of the Merovingian turning around and Uggo Transmission Face Man, I really enjoyed. Top three bits:

1)  Veil's jack attack (for da combatz animation quality)

2) Wake up, Neo_ spam (really dramatic)

3) Gray's companion's jaw drop

You left out Ghost's flying pig-face. </3

I thought it was alright. Fast enough not to linger for analytical eyes (unlike the Merv's "lol my arm has a lag of its own"), and even so it's not ugly looking. Though maybe it's me, but it sometimes looks like he's grinning when he's flyin' off..

Heh yeah, that Merv turn was the very first thing I actually tried animating. He took a big risk going first. ;D

Rarebit wrote:

Heh yeah, that Merv turn was the very first thing I actually tried animating. He took a big risk going first. ;D

Oops, that's not quite right. I did his eyeballs and the General's arm before that.

Took these while I was working on the third scene. Was thinking I'd put them in whatever the latest "desktop" thread is when the cinematic came out, but probably better just to keep them in here under the SPOILER umbrella.

You'll notice that the first one shows the close-up of Veil's eye in a position I didn't end up using.

Rarebit wrote:

Here's the planning txt I was working from and updating as I went. The numbers near the beginning are per-scene frame counts where I inserted time pauses (in seconds) in final editing.

You'll see a few differences between this and the final cut. Niobe's "Jesus Christ" line, for instance, got cut because I ended up without a good way to fit it in at the right time while still looking like it was coming from her--making it clear who is saying what is a significant issue when you don't have recorded voices to back you up.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

900 frames, 90 seconds

1a
pause after captions gone

1b
75(end): 2.5

2
1: 2

3a
1: 1
21: 1
40: 0.5
46: 0.5
60: .8
80: 1
82: 1
84: 1
114: 1
115: 1.5
119: 1.5
121: 1
125: 2
145: 2
150: 0.5
152: 3
174: 0.25
175: .5

3b:
107: 1
108: 1

3c:
10(end): 1

3d:
1: 2
2: 3
3: 2
63(end): 5

4a:
1: 1
2: 1
3: 1
79: 1

4b:
11: 0.5
12: 0.5

4c:
1: 0.5
2: 2
3: 1
25: 1
75(end): 2

5
1: 2
10: 1
11: 1
22: 1
23: 0.5
24: 0.5
25: 1
36: 0.5
37: 0.5
46: 1
67: 1
68: 1
69: 0.5
70: 0.5
71: 0.5
72: 1
133: 2
147-151(end): 1


scene 1 (150 frames)
(merv ref: http://forums.station.sony.com/mxo/..._id=36300025944 )
(general ref: http://forums.station.sony.com/mxo/..._id=36300020669 )
- (~10 frame 11.3 caption overlay)
- close up of computer screen: bip message from merv 11.2.5 ("Wake up.")
- Merv is looking at it in annoyance
- Gen hologram phases in, says they've got the android thing
costume ref: http://forums.station.sony.com/mxo/..._id=36300020669
- Merv has him put it up on the holographic display
- Merv looks at it, grins slowly--"impressive..."

~~~~~~
Merovingian.

My Sentinels have completed retrieval of the android.

Ah?

While slightly damaged, it appears to be intact.

As you can see, the mechanisms are complex.

This is not, however, Machine technology.

Impressive...
~~~~~~


scene 2 (90 frames)
(shimada ref: http://forums.station.sony.com/mxo/...895#36300474586 )
- shimada, hovercraft deck, looking at face on transmitter screen
- s: how is he?
- f: he won't be winning any beauty pageants, but he'll make it.
we'll be in broadcast range in a few days. do you want me to--?
- s: no. I'll do it

~~~~~~
How is he?

He won't be winning any beauty pageants,
but he'll make it.

We'll be in broadcast range in a few days.
Do you want me to--

No.

I'll do it.
~~~~~~~

scene 3 (300 frames)
- hovercraft, shimada jacked in
- door opens, crafty looking woman creeps up to the chair (100)
- v: they're all off in no-man's land...
- v: nobody to watch over you while you sleep
- v: now where would you hide that code the Oracle gave you...
- crewman appears in doorway, startled: you!
- v grins
- c: stop! (200)
- v yanks shimada's jack out, slices its cable
- v: kept it warm for you, dearie
- v hurls the jack into the crewman's forehead
- crewman collapses as more crew members arrive: veil!
- veil laughs as she vanishes back through the opposite doorway

~~~~~~~
They're all off in no-man's land...

Nobody to watch over you while you sleep.

Now, where would you have hidden that code
the Oracle gave you...
~~~~~~~

~~~~~~~
You!

No!

Kept it warm for you, dearie.

- Veil!
- Stop her!
~~~~~~~

scene 4 (200 frames)
- wright floats between skyscrapers, moving slowly over downtown
- gray is watching grimly from a rooftop with another agent, or maybe an operative
- g: the program?
- o: we're picking up blips all over the city. still trying to isolate it, sir.
- g scowls
- o: sir, should we--
- g: no.
- wright floats toward the wall of a skyscraper, it warps inward, making way for her to pass through
- g: keep your men back.
- wright floats out the other side and continues across the city at the same slow, steady speed
- gray scowls even grimmerlerlier
- g: find the program...

~~~~~~~~
And the program?

We're picking up blips all over the city.

Still trying to isolate it, sir.

Sir, should we--
~~~~~~~~

~~~~~~~
No.
~~~~~~~

~~~~~~~
Keep your men back.

Find the program.
~~~~~~~~

scene 5 (150 frames)
(niobe ref: http://forums.station.sony.com/mxo/..._id=36300025614 )
(ghost ref: http://forums.station.sony.com/mxo/..._id=36300024976 )
- close up of bip message from merv 11.2.5 ("Wake up.") on a computer screen
- niobe is watching it, with ghost behind her
- n: the interface program?
- the message, which had paused, refreshes
Wake up, Neo. [letters spelling out in sequence]
- n: jesus christ
- the message suddenly floods the entire screen
Wake up Wake up Wake up Wake up Wake up Wake up Wake up [...]
- n: ghost--
- ghost is already hyperjumping high above the city, his face set in a determined mask

~~~~~~~
The interface program?

Jesus Christ.

Ghost--
~~~~~~


end (10 frames)
map zooms in on spot in on W Hampton Green

-490 13 20

I don't understand the "flash" mumbo jumbo, but all of the reference just shot me back into my seat. That really closed a lot of mystery holes for me. Straight Awesome!

Shimada was the one character that I was hoping for not to die, but oh well. The cinematic was awesome and I cant wait for the next one.

Stunning, just really amazing!  Awesome job Rare!  I've been pumped all day at work to see this, and it did not disappoint!

Now to actually play!

Sigma

Tesma wrote:

Shimada was the one character that I was hoping for not to die

Really? Why's that?

I liked it, though I stand by my previous comments wondering if the style will suit all or the cinematics to come.  I'm also not sure the time spent couldn't be better spent on other things.

One thing that could be improved, though, is the sound.. these things need some sort of sound.  At the very least, leave the Loading Area bg music playing or use one of the other tracks already in game.

Rarebit wrote:

Tesma wrote:

Shimada was the one character that I was hoping for not to die

Really? Why's that?

Yea, seriously. Why is that?

The artwork was drawn in Photoshop 4 with an Intuos 3 6x8 drawing tablet. It was animated in Ulead GIF Animator 5, and exported as a SWF file in ImageReady CS2.

The weird drawing method I use has been described before, but here's a quick tutorial for anyone who happens to be curious. Screenshots are from PS4.

1) You could use any two colors you like. I usually stick with the default black/white foreground/background colors. Photoshop (at least up through CS2; not sure about newer-fangled versions) has a handy button you can click on the toolbar to reset them, or you can just use the "D" keyboard shortcut.

2) Select the Lasso tool, and make sure it's set to Feather = 0, and Anti-aliased is checked.

3) In the Layers window, sure you have the Background selected, and not on a regular Layer.

If you've already converted your Background to a Layer, you'll have to do "Flatten Image" to get a real Background again ("Layer > Flatten Image," or use the "Flatten Image" command from the ">" button at the upper right of the Layers window; this is a destructive change, so you may be better off just making a new image).

4) Draw the shape you want on your canvas with the Lasso tool. When you release the button, you'll have a "crawling ants" selection in the shape you drew.

You haven't actually made a change yet, so if you don't like the shape, you can always just clear the selection (CTRL+D, or just click somewhere else on the canvas) and make another.

5) Make sure the color you want your shape to become is set as the current Background Color.

If you're just using black and white, you can toggle between the two by pressing "X," or by clicking the little curved double-arrow icon on the toolbar. The box below it shows your current Background Color.

6) Cut the shape you've made out of the Background by using the "Cut" command. The keyboard shortcut is CTRL+X, or you can use the menu command.

And you're done: your lasso selection cuts away the Background to the Background Color in the shape you drew.

If you ever want to clear the whole mess and start over, just CTRL+A to select everything, and CTRL+X to cut it all back to the Background Color.

If you make a cut you don't like, just Undo (CTRL+Z) to get back to where you were before.

If you like a shape you've got traced with the Lasso, but want to modify it a bit, hold SHIFT while drawing to add to the shape, or ALT while drawing to subtract from it.

Most of the drawings I do this way are made with many lasso selection cuts in both black and white. The drawing tablet pen I use has two thumb buttons, and I've set them up so that in Photoshop they're bound to Cut (CTRL+X) and Foreground/Background Color toggle (X). That lets me draw a shape, click the thumb switch to cut it out, and toggle back and forth between cutting to black and cutting to white very quickly--pretty handy.

For drawings that are going to be rendered out, I usually draw them double-sized, viewing the canvas at 50% magnification (CTRL+- twice). If you zoom in on them (CTRL++) they'll look a little wobbly, but when you shrink the image down by 50% along each dimension after you're done drawing ("Image > Image Size..."), it results in a smoother image than you'd have been able to get otherwise. Also, you can zoom in to 100% pixel size if you need to do precise work on a small detail.

The frames are 717x375. The bottom 75 pixels is the "black bar" subtitle area; the cinematic image area is 717x300 (2.39 aspect ratio, which seems to be current cinema standard, although standards vary a bit).

The art, as mentioned, is (mostly) drawn at double size, ie 1434x750, then scaled down by 50% to reach the final size.

Captions and subtitles are added after the art is scaled down. The fonts are OCR A Extended for captions, and Georgia for subtitles, both 20 pixels, no anti-aliasing. Placement (in Photoshop you can set Guide lines crossed at the exact coordinates, which is very handy for placing lettering later) is 28x22, left-aligned for captions, and 358x342 (one line), 358x332 (two lines), or 358x322 (three lines), center-aligned, for subtitles.

Some of the source art was cut out from the background for layering. Because I draw mostly on the Background, this means I have to cut away the areas I want to mask when I need to use the art in a layer. To do this I make sure I've drawn a solid black or white outline around the object I want to free from its background, duplicate the Background layer into a regular layer, then use the Magic Wand (0 tolerance, Anti-aliased on) to select the parts I want to remove. After this you have to do "Select > Modify > Expand..." = 1 to make sure the edges are completely covered, then CTRL+X to cut away, leaving the shape free in a transparent background.

The Expand operation results in a tiny bit of image loss at the edges, and Magic Wand requires that you have a solid outline to start with, so it will save time and give better results if you decide before you start drawing whether or not you're going to need to mask the object you're drawing, and draw with that in mind (making complete outlines, and making any details thick enough to survive losing up to one pixel of edge). If you've got the perfect image but its got into a state where you simply can't cut away the background and still preserve your shape, you may have to resort to using Darken or Lighten (or Multiply/Screen--same diff for black and white artwork) blending modes on the layer instead, although this will limit the places you can use it in compositing.

I'm going to dump some of the more successful drawings here in their high-res, sometimes alpha'd source versions, so you can use them for whatever you like.

Slideshow of the original 90 storyboards, the idea was that each would represent about a second of finished animation.

Did Veil get a haircut?

Cadsuane wrote:

Did Veil get a haircut?

RSI doesn't = appearance in the real.

GamiSB wrote:

Cadsuane wrote:

Did Veil get a haircut?

RSI doesn't = appearance in the real.

RSI and actual real appearance was a detail that I missed too Cads. Rare explained it after I hit my head on my desk when I got reminded of this fact...

Rarebit wrote:

I had some fun coming up with how Veil and Shimada would look in the Real. I didn't want to give them radically altered bodies or anything like that, but Veil looks different without her glasses and makeup, she's probably a little leaner or more wirey, which was an attempt to give her a more "Real-istic" physique--showing muscles from hard exercise and a thinner face from maybe subsisting on synthesized chicken-flavor, and I thought it would be an interesting contrast too to give her short dark hair in the Real, vs the long white hair on her RSI, and her costume is black rather than white, and doesn't have any non-utilitarian additions like flowing coat tails or high heels. It is quite a bit different from the usual redpill garb, though, which also serves to illustrate that her source of equipment is not Zion.

Shimada's costume is closer to the standard torn sweater and dark sailor pants Zion sported in the movies, except that I couldn't resist giving her more stylish pants that are closer to her RSI. I didn't change her hair length as much as Veil's--only shortened it a bit--but pulled it back in a ponytail so that it looks different--you see her forehead rather than her RSI's long even-cut bangs, which I thought gave her a more hm monkish or at least serious appearance--and more suited to wearing on a combat ship.

Still, gotta say... it's a funky do!

That ought to cover it, I think.

Rarebit wrote:

Tesma wrote:

Shimada was the one character that I was hoping for not to die

Really? Why's that?

1) Because Shimada represented the same parts of EPN that I do and we shared the same beliefs. Michael's are slightly different.  Shimada always represented the peaceful aspects of EPN and humanity.

2) People respect Shimada more than Kid.  She seemed to be the true leader of EPN at times.  People don't ridicule her as they do Kid.  She brought maturity to the organziation.  If it was just Kid, EPN would be the lost boys run by peter pan.  Shimada was EPN's Wendy.

3rd but not lastly) Shimada is hawt and everyone likes her and the back of her pants.