2. Title sequence/narration opening sequence
"The year is 2450 and the human experience has been reduced to that of live stock...
It began when the energy sources, animals, and food ran out in 2090 and people got desperate.
Millions starved. People became tribal and societies collapsed worldwide due to the high death toll.
The elite began to see their old system of democracy as weak and gained a distain for humanity. They
quickly looked to other, more perverse, methods of rule ungoverned by laws, logic, and moral codes.
Within fifty years complete global dictatorship was achieved but resources had almost completely
vanished. It was then decided that the problem could be fixed by manually creating creatures to
replace the extinct animals. These creatures would have to produce a great amount of food each and
be strong enough to work constantly without rest. The only organism left which was capable of being
molded into this were humans themselves. Using blue prints and theories made by their ancient
ancestors which told of a legendary creature which was able to harness the power of all other species,
the elite start working on these creatures whilst humanity is herded into millions of factories to be
experimented on and to be put to work. This creature was never realised but hybrids between
humanity and various species where made in 2250. Soon after this the elites left earth in a space
station in search of a new planet. Sometimes a cargo ship is sent down to collect the carcasses' of the
hybrid which can finally make contact with their creators, only post mortem. However it is rumored
that some individuals were able to escape the factories and are doomed to wander across a endless,
empty, and useless landscape, powered by hunger alone, confused and aimless until death."
Narration script draft 1
3. Title sequence/narration opening sequence
"The year is 2450 and the human experience has been reduced to that of live stock...
It begun 350 years ago – animals became extinct, energy sources disappeared, food ran out.
Millions starved, societies collapsed, tribes grew as nations faded - theft and murder became the norm.
The elite began to see their old system of democracy as useless. They began to despise the weak and humanity
itself.
They looked to other, more perverse, methods of rule, unhindered by law or moral codes. Complete global
dictatorship was achieved but there was nothing left of earth to rule over except humanity itself.
Work began on creating creatures to replace the animals. Creatures strong enough to work constantly without
rest, huge creatures capable of yielding enough meat. These would be creatures formed from human stock.
Blue prints were found - made by their ancient ancestors - depicting a legendary creature able to harness the
power of all other species. They call it Brudatheen. The elite begin to work on this creature while human
civilisation is herded into millions of factories to be experimented on and to be put to work.
Brudatheen is never realised but hybrids between humans and various species where made in 2250. Soon after
the elites leave earth in search of a new planet. Every 100 years Cargo ships are sent down to collect the
carcasses' of the hybrids who can finally make contact with their creators in death.
However, it is rumored that some individuals were able to escape the factories and are doomed to wander across
an endless, empty, and useless landscape, powered by hunger alone, confused and aimless until death."
Narration script draft 2
4. Title sequence/narration opening sequence
In terms of the visuals of the opening sequence I will start with an extreme wide shot looking
downwards on to the desert floor moving forwards at an increasing speed. In terms of camera work
it will be very similar to the opening sequence of Lost Highway (1997 by David Lynch just on a larger
scale. The narration will scroll upwards on the screen and when the narrator mentions the factories,
these factories will start appearing on the desert below increasing until there is a vast amount of
them. To further reinforce what is being narrated archive footage will appear at low opacity so
as not to overwhelm the scene. The footage will be a succinct way of showing in more detail
how the situation came about. There will be footage of rockets, business men and politicians looking
powerful or untrust-worthy, military marches and training, arrests, DNA footage, robots at work and
robot design, footage of farming and animals hunting, Animal X rays, global warming, MRI scans,
X rays, Scientists at work, bombs being tested, footage of neurons firing in the brain. Most of
the footage I will get from the website Sciencephoto.com as I have looked at their
website (https://www.sciencephoto.com/) and the majority of the things I have listed are on this
website and I will get a considerable discount as a student working for non-profit. Each clip is about
£30 pounds which is still quite a lot for me but most of the other footage websites are more
expensive. The last piece of footage, which is the footage of neurons firing in a brain will transition
into electricity which will transform to make the title card. I will try to make the
electricity symbolize life and energy. When the title card is shown the camera pans up to the sun
which could also represent hope and life. The general tone of the beginning will be that the world is a
pretty static, lifeless, depressing place but soon there will be a chance for a change. I may hire a voice
actor to do the narration. Along with the narration there will be the sound of the wind and when the
title card is shown the soundtrack will start playing.
5. Opening sequence- sources I will use
Archival Laboratory Science, Scientists, Experiments, 1930s-1960s, Kino library Footage
https://youtu.be/y1A0_sPiaL8
American Heroes Channel Mussolini Strives for a New Roman Empire
https://youtu.be/yt_FGb3688A
British Pathe, Rioting Menaces Recovery! Aka Riots In America (1930-1939)
https://youtu.be/cCMGkvINupA
Mri215, 3D T2 brain MRI imaging
https://youtu.be/IIX78qGYeAo
Mountain Lion TV Hyena hunting sleeping Topi on the Savannah | CLASSIC WILDLIFE
https://youtu.be/ZQ83Gaj-9Dw
1930s Scientists at Work in Laboratory, Science, Research, Archive Footage
https://youtu.be/hsEJ1ZZgwMs
The Kennedy Centre JFK's Famous Speech to Congress on Space Exploration (1961) | The Kennedy Center
https://youtu.be/8ygoE2YiHCs
,
8. Character Design-Protagonist (chosen design)
I have chosen to use clothing from a
number of cultures and time periods to
show that that earth has become a timeless
place as it no longer matters anymore and
that the protagonist's equipment is just junk
that is lying around.
Protagonist without mask on
I include medieval armor
to show a return to a more
barbaric time. This return
to medieval style can be
seen in post apocalyptic
films such as Mad Max 2.
The style of the clothing in
Mad Max 2 can also be
seen in the more punk
elements such as the
character's trousers and
bracelets
I decided to pick the design
with the turban. A turban
would make more sense
from a physics perspective
as it is less likely to fall off
his head in combat and will
offer greater warmth and
shelter to help the
character survive.
11. Character Design-Protagonist's Equipment
I decided to give my protagonist
a Parrying Dagger, also known
as a Sword Breaker. I chose to
give him a Sword breaker
because I will be able to
animate him using this weapon
in both a defensive an attacking
action which will add more
variety and uniqueness to his
actions.
This is the motorbike the protagonist
steals from the messenger. This
Motobike is called the 1949 Matchless
G80 and I chose it to be the
protagonist's mode I think that it has
a good, bold color scheme and it will
not be that hard to animate as I will
only have move wheels and
handlebar.
12. Character Design- Protagonist Drawn within Photoshop.
I decided to make a design of my protagonist in Photoshop as I will convey a more accurate
version of what my design will look like in the finished product because instead of using an
already existing image, this process requires me to create the characters features from
scratch. I also learnt a lot of useful techniques such as decreasing the opacity and drawing
over the already drawn bit when wanting to add shade or texture to the drawing and also
learn that using the smudge tool to add depth to the drawing. I recorded my drawing
process for future reference.
14. Plot
• The setup is that Earth has become one big factory farm where the humans are harvested in factories for food
by a rich elite who have left earth and live in luxury somewhere else in the solar system.
• Some of the hybrids have escaped the factories and our main character is one of these nomadic hybrids. The
opening scene begins with him being chased down by other types of hybrids. He fights then kills them. He
then kills and follows the tracks of a Russian character on a motorbike whose job it was to recruit the
protagonist but a misunderstanding leads to his death. His motorbike tracks lead to a giant sarcophagus. Inside
he meets a scientist there who has created some brainwashed super soldiers and he asks the main character
to bring them on to the cargo ship . These super soldiers are going to be used to defeat the guards on the
cargo ship but our main character is tasked with killing the super soldiers once this is complete. The scientist
has promised to take out a chip that our main character has had implanted in his neck that is altering his DNA
so that he completely turns into a Walrus. All the hybrids have chips in them that transform them into
different creatures. He does what the scientist asks of him and he gets the chip taken out at the end.
• Other things peripheral to the plot but part of the ambience is that the elite are involved in unusual religious
practices. Their experimentation on humans is also part of unusual religious practices.
15. Shot List
• Establishing shot- extreme wide shot panning over sand dunes from above.
• Medium shot of protagonist laying under a tent in the sand dunes
• Close up of over hybrids burst out of the ground.
• Over the shoulder shot of the protagonist pulling the sword breaker from a holster in his back and the hybrids
screeching.
• Medium shot a them fighting, zoom in as protagonist stabs one of the hybrids in the belly.
• Close up of hybrids chasing the protagonist down a tunnel with handheld style camera movement
• Camera static during fight
• Camera spins around to the entrance of the tunnel where the messenger is silhouetted
• Camera moves towards the messenger revealing his features from the shadows
• Medium shot of the protagonist coming out of the tunnel
• Close up of the two men as they start arguing with each other, shots get closer with every cut.
• They start to fight which will be filmed using over the shoulder and worms eye views.
16. Shot List
• When the messenger is killed the camera tracks his head as he falls backwards at 90 degree angle.
• The protagonist boards the messenger's motorbike and drives away. The camera angle is placed on the side of the wheel looking
diagonally upwards at the handlebars.
• Wide shot of protagonist driving on the motorbike from behind, shot gets wider over time.
• On the horizon the giant sarcophagus building will appear, then this will fade into a close up of the protagonist entering the
building.
• Once the protagonist is inside the building camera angles with be medium to wide shots from the roof pointing downwards to
show the large scale of the building but also to give off a claustrophobic atmosphere and the sense that the protagonist is being
watched.
• The protagonist meets up with a scientist that asks him to help him raid the cargo ship and in return he will remove a device from
the protagonist's neck which is turning him into a walrus. Close up of the device on his body and static medium shots of the two
talking.
• Later the scientist reveals his army of super soldiers, this scene will also show how the super soldiers have been conditioned and
mind controlled. I will use fast cuts, strobe lights, extreme close ups, and dutch angles to make the scene disorientating.
• The cargo ship lands and the rebels look down on it from a hill top. Wide shot which pans across the heads of the army from
above, the spaceship is in the distance.
• Many of the fights scenes inside the cargo ship will have hand held camera movement especially the fight scenes that will take
place in tight spaces.
• In the final fight the protagonist will be engaged in a one on one fight with the strongest super soldier. This fight will be shot from a
side angle and a close up angle until the super soldier rips off his mask the camera angle will change into a wide shot. The
protagonist will then bite downwards into his enemy's neck and the camera will suddenly jerk downwards.
17. Equipment/Resources and Location
Resource 1:
Huion Graphics Tablet HS610
Price:
£65
Use:
The graphics tablet will allow me to draw on a computer using a pen and pad which will make it faster and easier to draw in the animation
software.
Resource 2:
Blender
Price:
Free but I may need to buy
Some Add ons, textures or models
Use:
I will use Blender to create my 3D CGI animation and 3D environments/backgrounds.
Resource 3:
Adobe Creative Cloud
Price:
£49.94 per month but college is paying the subscription and I get I large price reduction as I get a student's discount.
Use: I will use Adobe Photoshop and Adobe Animation for my 2D animation and I will Adobe Premier Pro for video composition and possibly
Adobe After Effects for footage editing.
18. Equipment/Resources and Location
Resource 4:
Computer one
Price:
£600 but I already have the computer so I will not need to purchase the computer
Use:
I will need a computer to run the whole creation and exportation process.
Location: I will be working on a my dad's computer at his house and my computer at my mum's house. I do not need to plan
to shoot at any location because I am making an animation so I don't need to film a footage aside from some video
referances which I will shoot against a blank wall anyway. Choosing to work on a animation also means I don't need to
organise shooting dates with actors which could be unreliable and Covid Lockdown rules would mean that I would be unable
to come into contact with people outside of my bubble which means I wouldn't get much choice in terms of actors and
travel restrictions will mean that I would be unable to shoot outside of the York area. So this means an animation has little to
no problems in terms of location, the only problem I can think of would be WIFI problems at my dad's house but that rarely
happens.
19. Poster Plan
• I will make a rough plan of what my Poster using images from the internet and place them on top of each
other to create the basic layout of the poster. I have done this process in past projects so I am used to it. I will
also talk about my influences of my poster and compare my poster to other sci-fi posters. I will probably draw
my Poster in Photoshop using the brush tools technique I used when I drew my protagonist's character design
because it is the fastest option and I am more experienced with this drawing process.
Desert Landscape
Mountain Landscape
"Day of the Tusk" (Title)
Space
ship
travelling
upwards
The main
character
looking aggress
ive and
deranged.
Leaning
outwards from
the poster
DAY OF THE TUSK
20. Soundtrack/ track list
• Outburst by Propergol
• Supernaught by Black Sabbath
• Darkness by Warning
• Demoniac City by Black Hole
• Zoviet France – Mohnomishe
• I Stood on the Banks of Jordan by Rance Allen
• Jaнар by Danil Danzheev
• Shit City by MC Ketamine
21. Pre-Production Dialogue
• When creating the dialogue for my production I ended up with a couple of drafts of dialogue. The
two principle concerns that I had to take into account when creating the dialogue was entertainment
and information by information here I mean dialogue that reveals something about the character's
motives and the plot. The drafts of both versions of the dialogue are in the slides below
• 'Dialogue 1' It would be more pertinent for a longer animation that was more in keeping with my initial idea
about a scientist who wished to hire our protagonist to help hijack rocket and then kill the super soldiers
who had been brainwashed. The payment for this would be the scientist being able to reverse the process of
him turning into a walrus and make him human again. Even in draft 1 of this dialogue though I have tried to
combine information giving about the plot with entertainment, atmosphere, humour, tension, and character
building.
Please see a transcript of the dialogue 1 draft below and the alternative ending and alternative beginning to
the dialogue on the next slide
22. Transcript of Dialogue 1
• Bellathon - Hey Tusk, you big murdering bastard, I been looking for you.
• Tusk - You’ll be looking dead soon Bellathon
• Bellathon – Don’t be like that. My boss, clever bastard, big forehead, he’s heard
of your murdering ways. We’re all very impressed. Thinks you’re the beast for the
job. Wants you to board the next cargo ship. Hehas soldiers on board. Their
minds are his. They kill for him. You kill them. So it goes.
• Tusk – I just kill to keep moving. Why would I kill for anyone else?
• Bellathon - Cos he is the changer of fates man! He can reverse what’s growing
inside you. Stop you
• going full Walrus. You can get your old teeth back.
• Tusk - I’ve heard this.
• Bellathon – Only catch, there’s two of us applying for the same job, padre. He
doesn’t think I’m up to it.
• Let’s have you, pal.
• Tusk– You’re just more meat for the pie, boy.
• They Fight
23. Dialogue 1 – Alternative Ending and Beginning
• Alternative Ending
• Bellathon – Only catch, there’s two of us applying for the same job, padre.
Plus, I don’t like you.
• Tusk – You don’t like anybody.
• Bellathon – What’s there to like?
• Tusk – This is true. But, you’re just more meat for the pie boy.
• Alternative Beginning
• Bellathon - Hey Tusky, you big murdering bastard, I been looking for you
• Tusk - You’re going to make horrible sound when you die, Bellathon
24. Pre-production –Dialogue 2
• Dialogue 2 is much shorter and more suited perhaps to the changes I have made to the
animation in that we never reach a rocket ship and that we end in fact with this fight
sequence with the messenger. Dialogue 1 gives them a reason to fight which also
incorporates and compliments the larger plot. However in dialogue 2 my primary
occupation is just giving them a reason to fight and I can dispense with the information
about rockets and scientists etc. In Dialogue 2 the assumption is that the two characters
know each other and this is easily achieved by one character calling the other by his
name. We move quite quickly from here to violence. In this dialogue the violence isn't
borne from a plot where they are both competing for the same job but from the nihilistic
world they live in which has endowed them both with a love of violence to relieve the
boredom. In some ways I feel this dialogue creates more atmosphere in that it is more
existentially troubling in that these creatures are fighting out of boredom. They are
almost friendly with one another and grateful for the mortal combat. I try to create a
slight contrast with the two creatures by emphasising how one of them doesn't care that
much if he wins or not, whereas the other one still likes to win. In some ways I wanted to
create the effect that both stances are remarkable - on the one hand it is hard to
understand how somebody couldn't care whether they survive a fight to the death or not
but on the other hand it is hard to understand how someone could still like winning and
hence surviving when there is nothing to look forward to in life.
25. Dialogue 2 - Transcript
• Bellathon - Hey Tusky, you big smelly murderer. I been looking for you
• Tusk - Bellathon! I do love a fight.
• Bellathon - Breaks up the day doesn’t it.
• Tusk - Yes, the sand is getting a bit samey.
• Bellathon – Tell me, Tusky. Do you care if you win or not?
• Tusk - Not really. You?
• Bellathon – Oh Yes, I still like to win.
• Tusk – You're just more meat for the pie boy.
26. Pre-production
• Dialogues.
• Before committing to which dialogue to use, myself and the other voice actor
experimented with reading both versions of the dialogue and played the recordings back
to see how they sounded. We had a quick practice before the recording and had
discussions on where the stress on certain words sounded best and also the pitch of the
dialogue. We mad multiple recording and listened to how they sounded. We recorded
versions with the voice actor doing both parts but decided that they sounded too similar
so we opted for taking a part each. We played both parts in both dialogues. My feeling
overall was that I read Tusk better and he was better as Bellathon and that the shorter
dialogue just edged it. When you practice dialogue in this way you realise that with a few
tweaks in tone the same script can have a very different feel and just a word here and
there can change the tone of the piece. For instance the word ‘samey’ adds humour and
also does that thing of using humour and language we here in every day life abd placing
in a futuristice context. I suppose that is part of the joke. When Bellathon calls him a
'smelly murderer' rather than just a murderer it also lightens the atmosphere and
Bellathon’s character become more jovial and carefree. If you take these two words out
the dialogue becomes quite different in pitch as do the character's. I guess just a couple
of words reveal the character's still have a sense of humour. Tone can transform a
dialogue and we both decided that it worked better if Tusk’s character would have a
slightly colder edge partly because it is how I envisaged his character to be from the
outset.
