Notice: Due to the festival runs, the film is not available online; however, if asked, it can be shared privately.
The film utilises three different styles to tell the story, each with its own challenges.
I worked on all three styles in different ways; for clarity, all line art layouts and film compositing were done by me, and, excluding three scenes, all remaining scenes were coloured by me.
The film is animated in TV Paint 12, composited in After Effects, and edited in Premiere Pro.
Memories
Respective credits are given in the scenes.
The "memories" segment needed the movement to feel like a recall of the past, with the main elements present and the rest a bit of a blur, so the movements and pacing of the event felt one after another. This also helps the viewer easily follow the story that's told.
Personally, for the scenes I animated, I struggled most with making references, as it is based on my experience, it made it hard to find myself in the same position. Additionally, the hand scene was a bit tricky as it needed to feel sinister and disturbing with its movement, while the parts
Subconcious
I personally enjoyed animating in this style the most, as, although graphic and bold, it is also forgiving of mistakes and flexible for experimentation.
The animation for the rat needed to look fluid and natural, as if it were the norm, while still intimidating at times. The compositing for this section was the most challenging, as some scenes required more than 1000 layers, and achieving the ideal result took time to learn.
Flower Field
The "Flower Field" is the shortest section of the film. The style lacks lines, which makes it challenging to colour and requires identifying sections to ensure the figure is readable.
This page focuses only on the film's animation; for information on directing, storyboards, and layouts, please refer to the directing and storyboard sections.