Storyboards

The storyboards for this film were based on the initial beats by my director, Jayne Tan. I expanded on them and added my own flair to it. One of my goals was to make every board count and have meaning in its connection to the story. These 56 boards are a result of it.

Props

The props were made as a reference for the 2D background artists to use so the objects do not have a wonky perspective, and they are always on model. Simple yet incredibly useful. The fan, on the other hand, was a part of Shot 3.

Animation Setup

My process for the animation was simple: I’d animate the characters on the reference picture we used for the backgrounds, then tweak the animation as necessary. Below provides an example of this process.

Animation

Below are the shots I worked on. I was lucky enough to animate two of the film’s most important scenes.

Layout Breakdown

The layouts for these utilised more shapes, with line art being a secondary factor. We wanted to match the style of the 3D models as much as possible, making the combination between 2D and 3D seamless.

Layouts

Painting the layouts was exciting, especially since I was working with someone who taught me a lot. I was lucky enough to animate the scenes I painted. We decided on a clear distinction between the night and day shots as one contains lines and the other does not.