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11-2005

Buddy's Alphabet Adventure Buddy's Alphabet Adventure

Jeremy Andrew Galante

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Buddy's Alphabet Adventure By

Jeremy Andrew Galante

Submitted in Partial fulfillment of the Requirements for the Degree MASTER OF FINE ARTS

MF A Imaging Arts/ Computer Animation SCHOOL OF FILM AND ANIMATION

ROCHESTER INSTITUTE OF TECHNOLOGY ROCHESTER, NEW YORK

November 2005

Skip Battaglia Skip Battaglia, Chair Professor School of Film and Animation

Charles T. Bandla Charles Bandla Visiting Assistant Professor School of Film and Animation

Nancy Beiman Nancy Beiman Visiting Assistant Professor School of Film and Animation

Johnny Robinson Johnny Robinson Assistant Professor School of Film and Animation

1

Table ofContents

Title Page 1

Table ofContents 2

Permission Sheet 3

Thesis Report

Introduction 4

Concept 4

Character Designs 6

Story 9

Sound 11

Animation 12

Backgrounds 14

Conclusion 16

Acknowledgments 17

Appendix A

Initial Thesis Proposal A

Appendix B

Pre-Production Concept Artwork B

Appendix C

Production Stills C

Permission Granted

Title of Thesis: "Buddy' s Alphabet Adventure"

I, Jeremy Andrew Galante, hereby grant permission to the RJT Library of the Rochester Institute of Technology to reproduce my thesis in whole or in part. Any reproduction will not be for commercial use or profit.

Jeremy A. Galante Signature

3

Introduction

"Buddy's AlphabetAdventure"

was a benchmark piece towards the development

ofmy skill with Macromedia Flash. By focusing on efficiency of design and movement,

the essential nature of Flash, I created a film of broadcast quality on a computer in three

quarters that would have otherwise taken much longer on paper. It re-inspired me to

pursue a career in filmmaking and stimulated a dream of launching a business in the

future. It is my intention to fuel this career by the solid cast of characters that had been

carefully tweaked for this film as well as utilize the library of cycles that were created

through extensive combinations ofFlash"tweening"

and frame-by-frame animation.

Concept

The entire concept for my film was a collaborative idea between my brother,

Lewis, and I. I had just come home after screening my two-quarter film, "To Beat the

Band", and was anxious to show it to everyone I knew. The film had been my first full

project with Macromedia Flash and my growing confidence in and grasp of the interface

was overwhelming me with ideas of where to potentially take a thesis. Since "To Beat

theBand"

focused around the use of the Wacom tablet and gestural character animation, I

was thrilled to continue to see ofwhat the program was capable.

4

After we had finished watching my film, we were discussing the potential of the

software. He took out my DVD and put back in a "BabyEinstein"

video that his one-

year-old son had been watching previously.

After thinking for a moment, he said, "See, this is the kind of stuff you ought to

do."

Whether joking at first or not, we began to elaborate on the concept. We discussed

how teachers are always in need of fresh methods and resources to use as educational

aids. It is an industry that will always be in demand, is quite successful, and has an ever-

evolving and endless world of topics to be covered.

Most importantly, though, is the connection our family has to education-

specifically, northeastern Ohio. Lewis, himself, is a school district treasurer and his wife

is now a kindergarten teacher's aide. Our grandmother was an elementary school

teacher, our mother was a high school English teacher, and our sister is a fifth grade

science teacher. On top of this, our father is a retired school superintendent and now a

consultant. In other words, ifwe were able to develop a series of educational videos, we

would have the proper angle to work them into the industry, gain critical feedback, and

eventually potential buyers. The idea began to come so naturally to our minds, that it

seemed foolish not to try it. We decided that if I could make a video, he would attempt to

market it.

As the plan took off, we decided that as a pilot, we ought to focus on something

simple. We had to answer some initial questions, as well. Could a film even be made by,

essentially, one person? What would a film like this look like? What sort of characters

would strike the interest of children? We decided to start with the simple concept of

animals teaching the alphabet.

Character Designs

Back in Rochester, I was hard at work using this fresh idea as motivation to get a

head start on my thesis. Though I was entirely inspired by Flash, I was not convinced

that I had the capabilities yet of creating a film of broadcast quality with it. And though

"To Beat theBand"

gained much stylistic acclaim by my department, it did not seem to

be something that would attract the interest of a child whose artistic development is

minimal. They generally look to something cleaner with a more graphic quality.

Something simpler, featuring characters with a sophisticated design.

I began to look into how current popular children's television shows were created.

I soon found that cartoons such as "SamuraiJack"

as well as "Foster's Home for

ImaginaryFriends"

were, to my delight, created with Flash. But the question I needed to

have answered was"How?"

How can these shows of such high production quality be

entirely created with a program whose main purpose in the software industry was to

simply enhance the browsing experience ofweb pages using motion graphics?

Regardless, it was possible, and I needed to find out how.

Fellow RIT graduate student, Fvristin Callahan, showed me a series of Flash

tutorials found on the Macromedia website. They were produced by Flash animator

Chris Georgenes, and it was from his work that I found most ofmy answers. One

tutorial involved drawing with Flash and another explained the Flash animation process

using a character composed of what Flash calls "symbols", or rather, graphics that are

added to a library and may be reproduced. They may also be minimally scaled and

skewed without any loss of resolution, thanks to the vector-based foundation of Flash.

That is, keeping graphics logarithmically based as to keep resolution consistent and avoid

pixilation, as opposed to rasterizing. This reusability of graphics within Flash also results

in low file sizes, as well ultimately, easy web streaming. From here, I decided to develop

a series of characters who would share symbols such as eyes, head, and mouth shapes,

thereby maintaining consistency of look, stylistic unity, and an efficient use of

development time. Overall, it was my intention to establish a reusable character

template.

I began working with heads. I wanted to draw something interesting, but

something that I would not grow tired ofmyself. Since this was to involve animals, I

worked with a dog character named "Buddy". For one, he would be introduced early on

in the alphabet and secondly, a puppy would be the sort of animal a child would be easily

drawn to.

A first concern was whether or not Buddy ought to be quadrupedal or bipedal.

Since it proved necessary to maintain consistency with each ofmy other characters and

since my characters were essentially animals in their natural habitat, I decided to make

him operate on four feet. However, my second and most difficult concern, was how to

develop each character in the round; that is, front, side, back, and three-quarters views.

Suddenly, this began to complicate things, since Flash is not ideally suited for three-

dimensionality. I instead, limited each character to a primary side view with an

occasional three-quarter perspective. This would later prove extremely interesting when

plugging flat animation into a 3D background.

Professor Nancy Beiman was a crucial asset to the development of each character.

In the early creation of Buddy, she suggested that I choose a breed of dog, in order to add

more character and interest. The idea of a beagle immediately came to mind and "Buddy

theBeagle"

was born. The"beagle-ization"

ofmy current model proved to be just the

8

twist it needed. Not only this, but the inquisitive nature of beagles also carefully added to

the buildup of a more sophisticated character.

Overall, the graphic nature of the characters were inspired by ChrisGeorgenes'

Flash drawing procedure. The heavy black outline allows for an interesting variation in

weight and tone while the solid fills maintain saturation and a direct point of interest in

the shot composition. From there, each character was meticulously tweaked and perfected

thanks to Nancy's keen eye. Since the story now involved eleven characters, we found it

necessary to develop a character line-up in order to keep a variety of color and size. Tone

was eventually eliminated in order to avoid complication. Creating such a solid cast of

characters was truly the film's primary strength.

Story

The initial story was derived from the original concept between my brother and I.

We wanted to keep things simple at first and operate under the notion that, "If this works,

we'll makemore."

It was also an ideal way to create an initial reusable cast of animal

actors.

I began by simply writing out the alphabet. Under each letter, I wrote down as

many animals as I could think of, and eventually turned to the index of animal books to

strengthen the list. From there, I chose an animal for each letter that I believed I would

find enjoyable to work with. I used this same procedure for vehicles and any sort of prop

that could be driven. Since the story was to be about discovery, or at least a journey that

would introduce alphabetical figures and forms, I decided that vehicles would be an

excellent way of "filling in thegaps"

between animals.

Once I had an A to Z list of alphabetical representatives, I was surprised and

thrilled at how easily I was able to derive an initial story from it. Not only this, but the

absurdity of the story made it an ideal film to be geared towards an audience of children.

It was a webbing process that I had never thought of trying before and it allowed me to

keep my creativity free and limitless. I was able to think of a world that I would have

never otherwise thought of and it produced such a flexible cast that will definitely be

reused in the future, which was essentially the whole purpose.

What the story now lacked, however, was a means of narrative delivery. I had

always been a fan of the poetic rhythm of "GeraldMcBoingBoing"

and wondered how

difficult it would be to attempt to mimic that beat. I recruited my brother-in-law, Rick

Renton, to assist me in adapting my story to verse, since he has always had a specific

knack for rhyme and rhythm. We discussed the lyrics to "GeraldMcBoingBoing"

and

10

found that this was an ideal way to brighten up my story. It would also eventually serve

quite well in meshing with a musical beat.

Sound

It was now my intention to find a strong narrator and voice for the animals, or at

least use a child for Buddy. I realized, however, that if I were to look outside ofmy

immediate community, it would prove difficult finding the same people again. This idea

was extremely important, after all, I was not only developing a thesis piece, but I was

developing the pilot ofwhat I was seeing as a long line of potential videos with

reoccurring characters.

I have been complimented on my voice numerous times over the years and finally

thought it was time to give it a try in narration. I also thought that the varying voices of

the characters could finally challenge my vocal range. This would also result in a type of

uniformity to the voices and an element of comedy.

Once each track was recorded, I worked with a drumbeat click-track to time out

the flow of the piece into one continuous song. This simple, jazzy sounding track

sparked my interest and I decided to continue working with this simple beat. The song

"Fire Coming Out of aMonkey'sHead"

by the band Gorillaz as well as the song "Small

11

Car"

by Marvin Pontiac each drove my inspiration of narrating a story to a drumbeat held

together by instrumental interludes. In the end, listening to the track without visuals is

almost as wonderfully vivid and entertaining as watching the whole piece itself.

Animation

Since the nature of Flash is to work with symbols, I attempted to make use of this

function as much as possible. Graphics such as eyes, pupils, and eyebrows could be

easily used again while head shapes and legs were required to be altered slightly. I also

developed a series of linguistic phonemes, eight for each character, and used the symbol

swapping function in order to quickly shift between them while maintaining proper

registration.

Once the majority of symbols was established, the animation process could begin.

My first step was to create the cycles I knew would be reused. Basically, Flash permits

you to place symbols within symbols, as well as allowing for a symbol to be a looping

cycle. As a result, I created a walk cycle for each character only once, and was then able

to reintroduce it countless times throughout the film whenever necessary. If a character

blinked or did something that would have to be repeated, but was not necessarily a cycle,

I would copy and paste frames and properly scale them to fit within the new scene.

12

It was necessary, however, to create each movement using"tweening"

or frame-

by-frame animation."Tweening"

is Flash's way of setting up a point A and a point B,

and allowing for the computer to determine the in-betweens. Though not always

accurate,"tweening"

does in fact eliminate a tremendous amount ofwork, and is

especially beneficial in resolving simple linear motion. And even if the"tween"

is not

entirely perfect, frame-by-frame alterations can then be introduced to clean up motion

errors.

Animating in Flash also requires the use of the"parenting"

concept. That is,

breaking up figures into hinged, puppet-like characters. Unfortunately, while it is easy to

maintain individual pivot points, group pivots are reset with each use. For example, the

point for a wrist will remain after each use, but the point for a wrist and forearm is reset.

This can prove to be terribly annoying, but not impossible to work with.

If I found that frame-by-frame movement did not suit the nature of the shot, I

turned to the use of blended, warped graphics. This concept, known as a "smear", was

best illustrated in the WarnerBros."

cartoon "The Dover Boys", and involves using only

one frame between two extreme key-frames. The difference, however, is that the frame

itself is a warped, abstracted blend of point A and point B. The result is a quick, and

13

remarkably fluid, movement from one pose to the next. I used this idea extensively in

"To Beat theBand"

and found it quite useful in this film.

Lastly, after the movement in each scene was animated, I would export it as a file

sequence. It was, however, necessary to export the sequence while maintaining both

color integrity and an alpha channel. The PNG picture format proved to be the perfect

setting and I was at last ready to merge movement with background.

Backgrounds

The settings for my film were, at first, to be created in Flash. I had already drawn

up many of the basic elements of scenes and was ready to combine my stage with the

actors. At the time, I was taking a class with professor Charles Bandla. He assigned us

an Adobe AfterEffects project that focused around the 3D tool. Naturally, I was skeptical

of this feature in AfterEffects, since I had never taken any interest in 3D work using

Maya. However, though I was quite familiar with AfterEffects, I had never even known

of the feature. It essentially allows flat layers to be scaled and rotated in a 3D

environment. Luckily, the limiting nature of the feature keeps things simple.

AfterEffects also provides the option of light and camera layers. These may also

be adjusted to nearly any specification and adds a tremendous amount of depth to a flat,

14

3D space. As a result, I began to take great interest in the notion of combining my flat

characters with a 3D environment. This would add an unimaginable degree of

sophistication and stylistic charm to the entire piece.

At that time, professor Johnny Robinson showed me the film, "Family and

Friends". The concept of flat layers in space was beautifully executed in this piece and I

used it as constant inspiration in developing proper camera movements and positioning of

2D objects in a 3D space. I used my initial class project with Charles as a technical test

for this idea and the result worked perfectly. It was then my final decision to forge ahead

with this procedure. This combination of Flash and AfterEffects is truly the magic of the

film.

In order to add richness to my settings, however, I decided to manipulate real-life

textures. I gathered photos of both natural and man-made textures, from tree bark and

sky to brick and rice paper. But instead of using grass to represent grass and rock to

represent rock, I attempted to insert, whenever possible, arbitrary textures that would still

produce a believable object. Examples of this include using tree bark as mountain rock,

and rock as glacial ice. By adjusting the contrast, brightness, opacity, and color of each

layer, the results were fantastic. The natural depth and tone of each texture fit in

remarkably well within each shotcomposition. Similarly, the light and dark contrast

15

complimented the use of shadows. Each landscape was a surreal creation that stretched

the limits of believability.

Conclusion

"Buddy's AlphabetAdventure"

was a highly enjoyable and entertaining film to

create. Since it was to be the launch pad of a future business, I kept my expectations and

standards high and tweaked as many details as possible. The result is a film that cannot

be watched without a constant smile on your face.

My work with Macromedia Flash has developed into not only a more solid

interest in animation for fun but also animation as an ideal career move. I have begun

working freelance and part-time jobs that require an extensive knowledge base of the

interface and my work is highly respected. I am truly confident with pushing the limits

of the program and look forward to updates and improvements in the programming. I

may go to bed exhausted from a days work with it, but I wake up refreshed and anxious

to sit back down.

Though I am extremely confident with Flash now, there was indeed a slight wall

to overcome. I have explained to people that though the idea of timelines within

timelines is a difficult concept to grasp at first, there is no better way I could possibly

16

think of to organize an interface. I also find myself constantly encouraging others to take

the time to learn the program, as the job market for those with skill in both art/design and

Flash animation is quite welcoming.

This film provided a natural step beyond my last film. And likewise, I have

already begun thinking of steps to come. I now have an entire library of original

characters, poses, and cycles at my disposal.

Acknowledgements

I would like to thank my committee for all of their feedback, especially Nancy

Beiman, for her initial help in designing a cast of solid characters, and

Charles Bandla for his help and sincere interest in my work with Flash and AfterEffects

as well as his time spent working with me over the summer. Most of all, I would like to

thank my brother for constant motivation as well as my brother-in-law for story and

character development. Thank you all.

17

Appendix A

School of Film and Animation Graduate Thesis Proposal Contract

" Proposal Title _f'$.v. __ ,1>_~-I-7 _. _s __ A_L.-_fi_~_($_· _~_T~_A-:J_3::>_v,_'fi-N_~ __ r<-_~ __ " __

Student J~~y GA-LA--N~ ,

Committee Chair C;F-.:( ~~ L ~4 --------~---------------

CommitteeMember_~N~AN~~~1~~~~'~~~~~ __ ~ ____ ~~ ___ Committee Member C~E=S" ~"D L4 vJ! --.i&#hv"'1 ~e-; N$CAj

Treatment --

Credits --

Discussion Notes:

Budget. __

Marketing, __

Timeline -- Supporting Materials_~

Reel --

~...t '-f V7--'";~ o{' ~h>~~1 vu~,c, ~/,;fo-.J'~ .1!-rt-.·~r5 h-.r ~ .. ~ t,,,,< · ~/(t-../....Lt --r~ L-f?Alcb. @ I'D - ~---."...es· vJ:jA 1"-'-.+rzr.-· .... S ~ .~ h~--"'" +0

~k. .. i-. " tt-.4. ~~ . . ~ ~t:. ~ f€-S"....-~ ~~ ~~<-- ~~ n ~ e-._ .. :t~ .. ..r~·_r 'L·r

/" . ~ / err La--n--':l . -, ..... 1/0 I v~eR ~~ 1'£·-:S .r:;-L-- :> vO'>·~ . /o/~r~ C.....,."....·.. I c.--t-.:/../) ;---~-r- r

Approved

Not Approved

Conditions of Approval:

~.

- ,~ .~ :-. v ~~. .~~~ .. ;>.:,~ Date for Resubrri1Ss'tqft ~'" ____________ _

Project to be Completed By ________ _

Committee Chair (or Sko B tt r Dept. Chair) Signature __ --=IP __ a_a_9=--I_a __ Date Ar-:' I I? I 2.-cn:l ')~

I accept that the above is an accurate record of the conditions of approval of my Senior Thesis Project.

Student's Signature Jeremy A. Galante

Buddy's Alphabet Adventure

By Jeremy A. Galante

MFA Imaging Arts/Computer Animation SCHOOL OF FILM AND ANIMATION

ROCHESTER INSTITUTE OF TECHNOLOGY ROCHESTER, NEW YORK

Skip Battaglia Skip Battaglia, Chair Professor

April, 2005

School of Film and Animation

Nancy Beiman Nancy Beiman Visiting Professor School of Film and Animation

Charles Bandla Charles Bandla Visiting Professor School of Film and Animation

Johnny Robinson Professor School of Film and Animation

Approved for Submission

Title: Buddy's Alphabet Adventure Start Date: Feb-05

Producer: Jeremy A. Galante End Date: Nov-05

Budget: $577.50 Running Time: 10 minutes

Release Format: DVD

Story:

A dog, Buddy, discovers a map that leads him on a journey

through an alphabetical landscape. In the end, he discovers the

treasure of friendship.

Synopsis:

The story is based upon the lower-case alphabet and introduces

each letter one at a time. It will be narrated in verse and will also

contain two"recap"

verses-one in the middle and one at the end.

The film starts with the words "Our adventurebegins."

at the

bottom of the screen, in order to present the "a". As each highlighted

letter is introduced, it will also appear along the bottom of the screen.

In Abracadabria, Buddy the beagle is napping outside on his

hammock. He is woken up when a coconut falls onto his head. Inside

the coconut, he finds directions that appear to lead to some sort of

treasure.

He begins his journey by asking his friend, the elephant, to join

him. The elephant agrees, and Buddy rides on top of him.

The two friends first approach a burning house. The elephant

puts out the fire by shooting out water. A goat living inside the house

thanks them for their help, and joins them on their journey.

The three animals then come across a deep ocean. They decide

to take the goat's hovercraft across. When they reach the other side,

Copyright 2005 Jeremy A. Galante

Title: Buddy's Alphabet Adventure Start Date: Feb-05

Producer: Jeremy A. Galante End Date: Nov-05

Budget: $577.50 Running Time: 10 minutes

Release Format: DVD

Synopsis (Con't)...

they have built up a large appetite, and decide to buy ice cream from

a jackrabbit. The jackrabbit decides to joins them.

The animals next encounter a large gorge. Since a bridge is out,

a strong, local kangaroo offers to help carry the group and jump over

to the other side. They agree, and the kangaroo continues on with

them.

As they follow their path, they are stopped by an angry lion. He

refuses to let them pass. A small mole, however, suggests that he

might be able to tunnel under the lion for them. As a result, all of the

animals squeeze through the tunnel, and the mole leads them

underneath.

As the mole digs, he runs into the nose of an ostrich. The

ostrich explains that he is hiding from a polar bear above ground. The

group approaches the polar bear, and discover that he is in fact,

friendly.

A strong snow storm now begins approaching. The polar bear

offers to lead the group, now consisting of every animal except for the

lion, through the blizzard. As they trudge through the snow, the polar

bear cautions the group to remain quiet, as to not awaken a sleeping

herd of reindeer. Once through the snow, the animals discover a

sled. They all pile on, and slide down a hill.

At the bottom, the sled is abruptly stopped by the shell of a

turtle. He apologizes for knocking them off, and offers a ride on his

Copyright 2005 Jeremy A. Galante

Title: Buddy's Alphabet Adventure Start Date: Feb-05

Producer: Jeremy A. Galante End Date: Nov-05

Budget: $577.50 Running Time: 10 minutes

Release Format: DVD

Story:

A dog, Buddy, discovers a map that leads him on a journey

through an alphabetical landscape. In the end, he discovers the

treasure of friendship.

Synopsis:

The story is based upon the lower-case alphabet and introduces

each letter one at a time. It will be narrated in verse and will also

contain two"recap"

verses-one in the middle and one at the end.

The film starts with the words "Our adventurebegins."

at the

bottom of the screen, in order to present the "a". As each highlighted

letter is introduced, it will also appear along the bottom of the screen.

In Abracadabria, Buddy the beagle is napping outside on his

hammock. He is woken up when a coconut falls onto his head. Inside

the coconut, he finds directions that appear to lead to some sort of

treasure.

He begins his journey by asking his friend, the elephant, to join

him. The elephant agrees, and Buddy rides on top of him.

The two friends first approach a burning house. The elephant

puts out the fire by shooting out water. A goat living inside the house

thanks them for their help, and joins them on their journey.

The three animals then come across a deep ocean. They decide

to take the goat's hovercraft across. When they reach the other side,

Copyright 2005 Jeremy A. Galante

Title: Buddy's Alphabet Adventure Start Date: Feb-05

Producer: Jeremy A. Galante End Date: Nov-05

Budget: $577.50 Running Time: 10 minutes

Release Format: DVD

Approach (Con't)...

system. This will allow for faster animation and tweening, but also the

ability to squash and stretch a consistent, copied library graphic.

While Adobe After Effects will be used for the primary compositing, it

may also be employed in order to explore its 3D tools and allow

characters to move flatly throughout an environment.

Copyright 2005 Jeremy A. Galante

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