Colonial Castle/Fort

For the castle, I thought the design would serve well in capturing a similar colonial era of the BGH to further establish his relationship with such an object. As such, he lovingly recreates the design as a castle of his time and place, only for it to similarly crash with his downfall.

Moreover, while some previous grand castle imagery I looked at earlier may give a pleasing form, it would most likely feel disjointed to the BGH, where the standard sand bucket castle would feel far too basic to have any real sentimental value to the BGH.

Its been tricky to find a balance in the design to keep it creatively appealing while maintaining its roots to an colonial era. Too much of one thing pushes the castle into a different direction entirely as grand towers with pointed tops appeared too disney/fantasy like, where other general forms felt too medieval. As such, I've structured the castle similarly to a colonial star fort, with a central tower to give it some height and form.

I believe the design works well to some degree, linking to the era of the BGH while maintaining some pleasing aesthetic form, though I wonder if I can push this further. Yet for now, it will serve as a place holder as the sand castle within my storyboards until I can return to it with some more time.

Some reference images of colonial castles/forts.

Initial Storyboard

Here I have developed an initial storyboard for my 1 minute story featuring a Big Game Hunter, Deck Chair and Castle, helping to visualise the type of structure and imagery I have in mind. If it serves well, one should be able to read the storyboard and gather the basic premise of the story. But just in case, I've included a brief description to shed light on any confusion that might occur.

Act 1 opens with an extreme of close-up of the sand castle, zooming out to show BGH standing tall and proud admiring his handiwork of a colonial fashion sand castle. Act 2 shortly begins as BGH begins to attempt to deploy a deck chair.

Using a series of cuts in quick succession, this will help illustrate BGH vain attempts at deploying the deck chair in a comical fashion. His proud, composed nature notably deteriorates into an extreme fiery temper. Throwing the deck chair in the air in a frenzy, he grasps his gun and takes several shots at the deck chair filling the scene in smoke.

As the smoke clears, BGH smirks in triumphant as the deck chair reveals itself amazingly deployed. Act 3 concludes as BGH tries to recompose himself, sits down on the deck chair with a pause, only for it to collapse under the weight of him landing with a great thud, which causes his pride and joy of his sand castle to similarly collapse in total and utter defeat.

Its by no means final, as I intend to refine and develop the storyboard further as things will most likely develop. Feedback and thoughts is most appreciated as always.

Bouncing Ball #3

Third bouncing ball with rotation and movement.

PaperClip Chain

Expanding upon the Pendulum swing animation, this workshop follows a similar process yet this time with separate moveable joints in the form of a pin, paperclips and blue-tac.

Camera Movement - Crane, Dolly, Pitch, Roll

Maya workshop creating several types of camera movements from a crane and dolly rig, as well as pitch and roll movements. It was most insightful and satisfying in creating these camera movements having seen many of these techniques used repeatedly in film.

Crane Rig Pan

Dolly Cam Pan

Pitch Pan

Staircase Roll

Big Game Hunter Concept #03

Updating some of my further progress on the BGH character, refining his silhouette and some defining aspects such as his moustache.

I've tried to emphasise his skinny stature to reflect his gentlemanly, fiery character that can be well animated in his conflict with the deck chair. The moustache will also similarly react accordingly to reflect his given reaction e.g. a drooping moustache for dejection.

Thanks to everyone for the feedback and comments I received while carrying this around earlier today, I feel much more confident in the design and what is needed to take it further. Namely a stronger frame/pose to emphasis his stature, while perhaps returning to the original Pith style helmet (bottom right of heads) for a more iconic design typical of a big game hunter. The wider brim, although pleasing to the general silhouette, may detract from his iconic hunter status. I'm also favouring the bottom left rounded moustache for its more British style, while also granting the opportunity to be well manipulated.

Any more feedback is greatly appreciated while I'll concentrate on some storyboarding.


Alfred Hitchcock's timeless classic Psycho (1960), stands as the prime example in driving themes of horror and suspense.

The story follows secretary Marion Crane who, on the run after stealing money from her employer, stays at a remote motel run by a seemingly lone individual known as Norman Bates. We are eased into the world of Marion, only for it to abruptly end as the real horror begins at her brutal and unprecedented murder. The ambiguous nature of Norman Bates becomes all to unsettling as we slowly yet surely discover the truth of his farcade.

Psycho's success in driving a sense of tension and suspense throughout the film stems from the use of editing and cinematography. A series of lengthy still scenes dominate the pacing in building the tension and drama, only to be punctuated by unyielding scenes of brutality manipulated with a series of cuts and edits that masterfully heighten the absolute terror and horror - the shower scene being a prime example of this as our phantom appears from the nothingness to strike our heroine down, to the relentless pace of the iconic musical screeching.

Overall, Psycho remains as one of the most iconic movies of Hitchcock's collection. Its unconforming structure and masterful editing builds suspense and terror quite like no other.

Big Game Hunter Concepts #02

Here are some sketches I've tried to capture the spirit of the BGH in a more stylised, exaggerated manner. With a more standard yet slightly exaggerated version on the left, and far more stylised 'toonish' adaptations towards the right.

Proud, pompous and well experienced in his art, yet ultimately ready to be ridiculed.

As of yet, I am favouring the bottom right most design as it captures the spirit of the BGH with a more distinctive and readible silhouette. Yet, I am keen to hear your thoughts and feedback as to which design is more headed in the right direction.


Alfred Hitchcock's 1948 Rope, is a most intriguing film with its notable lack of editing to create a real-time theatre like presentation.

The plots revolves around two young men who, having strangled their classmate, hide the body in their apartment only to later host a party with his friends and family in the very same room as a challenge to the 'perfection' of their crime. Its a captivating story that surmounts to much gripping tension as characters step inadvertently close to the truth for a most palpable sense of dramatic irony.

As such, the use of long unbroken scenes with some shots lasting upwards of ten-minutes, serves to heighten the drama and tension with a certain intimacy that is most compelling. It may sound odd at first, but its works incredibly well in engaging the audience for some very memorable shots, particularly the camera fixed for a long pause at an angle with the maid moving items back and fourth, slowly yet surely exposing the hiding place where the body dwells.

With the entire film based in the set of the apartment, it is not surprising that some great planning and deliberate camera movements were involved to create the illusion of a consistent shot. Its reminds me most of the 180 degree rule in our recent static camera workshops where certain boundaries in filming cannot be crossed in order to create a believable and coherent sequence. The background beyond the window is also a prime example of the careful attention to detail given to the set, showing the constant and progressive time of day throughout the movie.

Overall, Rope is a brilliant and prime example of experimental film techniques at its best, challenging the conforms at its time to create something truly timeless and unique. Compared to some of the fast paced editing of today, Rope provides a refreshing perspective on the use of editing, allowing the story to progress at a natural pace for a much more profound and memorable effect.

Big Game Hunter Concept #01

Some early designs into the BGH character, following the proud, gentlemanly stereotype.

Digital sketches

I've tried to capture some iconic features such as a pithe helmet, a musket blunderbuss type rifle and a well groomed moustache. While I believe these work well in some respects, I think some more attitude could work well in capturing his proud nature while similarly ridiculing him, perhaps by stylising him more in an exaggerated manner.

Big Game Hunter References

Some further reference imagery into big game hunters. I am looking to capture the typical gentlemanly character for the BGH, so he will more than likely be male and of an older generation to reflect this.

Some iconic big game hunters from Looney Toons's Elmer Fudd to Jumanji.

Three Shot Conversation

Three Shot Conversation workshop, establishing static cameras to convey a dialogue between 3 characters with focus on reactions.

Panning Thirds

Using the rule of thirds to create a correct panning shot with a moving character.

Bouncing Ball #2

Another bouncing ball, this time made with a centre pivot point.

Pendulum Swing

Pendulum swing animation

Iconic Moustaches

Some iconic gentlemanly moustaches I'm looking at as reference to capture the character of the Big Game Hunter - proud, pompous yet ultimately ridiculous.