One Last Thing...

With one last thing to do before I officially put this project to bed, I emailed Pedro Ultreras with the link to my video to see what he thought of it, thanking him again for the use of his incredible footage, and just hoping I managed to do his work justice.


This was his reply.

Wow.


Approval from the man himself. Couldn't really ask for more than that. He even wants to meet when I go to New York later in the year, so the added benefit of aiming for the stars with this final project is that I get to make professional contacts?


More than I could have ever hoped for, and a fitting way to end my time at University.


The future is no longer as scary as it once was!

Finished Video

Here she is, the final edit.

Pieced everything together, the footage, the establishing shots, the graphic work, the whole music track, and the animation itself.

Really happy with how it turned out, and proud of my effort. It's something I've achieved on a scale I wouldn't even have attempted had it not been for the time frame of Grad 2, and the fact that it was the very last project.

I tweaked a few things from what I had planned. I added a short title screen after naming the piece "Braving the Beast", which I felt appropriate and relevant to the issue.

I also dropped the second set of title, the ones which state what my idea was. I just didn't like them, they didn't feel right, whether it was the wording or how unnecessary they sounded, they just didn't work for me, and I didn't wanna lose my viewer's attention by including them.

I adjusted the order of editing too, in order to best fit the final music, which started more ambient and soft, but built to a big dramatic crescendo. So instead of showing all the footage, and THEN the shots of my drawing the animation, I mixed them up accordingly, so that when the music gets all dramatic and "dangerous", it suited the video on screen, in this case, talk about the cartels and the danger the migrants find themselves facing.

As I couldn't get the train to move like my original idea, I digitally created a shot that kinda set the scene here instead. Its a panning shot of the train, made by piecing together high quality photos of the actual caridges and then moving them in after effects, which gives the impression of the train used as a timeline canvas, but in a suggestive sense. It serves to just set the scene for the animation that follows, and while I suppose I could have done the whole animation in that manner to recreate my original idea, I didn't want to "blag" it, if that makes sense. I'd rather do a more basic method that was legit, than a fancy one that wasn't, just to keep an idea alive.

I also added end credits based on one shot I got on location, giving a shout out to everyone who helped me, not just in this project (Alex for music, Mr. Ultreras for his footage, and my girlfriend for helping me film and drive me to Healey every day!) but also for Matt and Johnny who have helped me these past 2 years, and guided me towards a better future for myself and my career.

As it stands, I'm happy with the work, but obviously I'm so "into" it by now that I see the many faults in it. It's nothing major that will require further editing or anything, but a few things I don't like, such as the pace of the intro, which seems a little slow (due mainly to the length of the music and me trying to time it right for certain parts), a little disjointed in edits (ie: coming in and out of the animation montage itself), and just general quality, which seems a little rough around the edges (which kinda suits it to a point).

But for all it's faults, I feel good about how it came out, and feel the months and months of research, planning, development and application were well spent. Not that I'd put myself through it again anytime soon, but still. Looking back, it makes me feel even prouder, knowing how hard it was, and how high I aimed. It's certainly set a new standard for myself and my work, something I will aim to take with me, wherever the future might lead me, career wise.

Project Development - A Potential Ending?

I've had an idea.

Just as I open the animation with a bound ribbon that "morphs" if you will, into a bird, symbolizing being unrestricted and tied down, I thought of something that might end the animation too. It was actually while meeting with my peers in the feedback sessions I arranged that someone (Michael) said I ought to think about a nice way to end the animation, rather than have it just fade out, so that's exactly what I've tried to do.

As the animation plays out, the migrating birds begin to disappear one by one. What if the last remaining bird, who I was actually debating whether they should live or die themselves, did in fact live, and flew off to greener pastures, but did so in a way that came OFF the train canvas background?

If I could merge the hand drawn imagery with the digital manipulation of live footage, I could perhaps create the illusion that the bird was flying OUT of the train itself, and away into the distant sky.

Here's a quick sketch to show you what I mean...

I think it would be a creative and fitting end to the animation, something that emphasizes the point of the animation, while at the same time bringing it back into the real world footage ready to be wrapped up as a whole.

Sure, it will need digital means in order to pull off, but I don't feel it violates my original intent of focusing primarily on non-digital means in order to craft an animated tale. It's an EXTRA idea that builds upon what I'll already have created by hand, so in that sense, I feel it works.

And if it doesn't, tough titty. It's a nice idea.

Project Development - Original Music

I wanted everything in this project to be my own, in the sense that no annoying website can say "You have violated copyright by using this audio" blah blah blah, etc.

As my final big assignment, I wanted to do things properly.

Which is why I asked for official permission to use the video footage. And it is also why I knew from the start that I wanted to have my own soundtrack to it too.

I have a few musical friends, but none quite as unique and gifted as one called Alexander Stanton, or if you were to go by his artist name, Major Gubbins.

I approached Alex with the idea of collaborating and coming up with something new and original for a project, and he leapt at the chance.

I told him what I wanted, what kind of vibe I was looking for, and what exactly my project was all about.

And he began working on laying some tunes out for my approval, sample beats that I could listen to and either give the thumbs up, or even down. Not that it ever really came to a thumbs down, but the entire process was a great look at how collaboration on a professional level with a brand new and unique project in mind, would be achieved, and I'm absolutely glad I did it.

My intent was to upload each work in progress as it was produced so you might see the changes that took place each time, and how my ideas and Alex's incredible talent helped shape the potential soundtrack to my project, BUT, unfortunately blogger doesn't allow audio uploads.

So what I'll do instead is to put all the key samples together in one run and make a video instead, so you can see how it came to be. (The key moments in audio production are in my submitted work folder anyway, so you can hear them yourself. Just annoying as I wanted to include everything here, but no drama!)

Below are key dialogue snippets from the emails we exchanged and the conversation we shared in terms of shaping the desired outcome, just for your reference.

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ALEX - Roughly how long does it want to be? What kind of structure do you want it to be, as in do you want it to change a lot, like a song per say, or a repeating chord progression/melody, with less obvious, subtle sweeping changes, (more like an instrumental I guess)? What kind of tempo/pace do you want it and would you want it to get faster/slower? And do you need it to have any moments of silence/climatic interest?

ME - It's kinda tricky at the mo cos i'm still making the animation, so certain things I can't answer exactly. I don't think the whole finished vid will be longer than the length of a normal song, bout 4-5 mins, and will blend the animation with filmed footage of me drawing it, and facts about the issues behind it. 

The video is gonna set the scene, it's going to introduce the viewer to both the issue at hand and also the task, ie: what i'm doing. the shots will show me drawing in the train yard, and eventually build to the animation itself playing. The editing of all the first stuff can be flexible to match any music to make, and a repeating chord would work best here I think, and then when the animation kicks in maybe it should change a little then, if only in slight pace or melody. The story of the animation then plays out, the lone bird flies the sky, joins another, and another, until a whole flock is flying together, a good spot for sweeping music, and find refuge on the back of a whale. The whale then takes them across the sea, until an element of danger is introduced and the sharks begin to attack, at which point the music could get a little dangerous (but nothing too over the top). Eventually the birds are lost one by one, until our lone bird manages to fly free and escape for greener pastures, so a nice uplifting climax would be great, to finally come down soft again, maybe back to the original melody as the final facts play out on screen, and I'm seen walking away from the trainyard to finish.

FIRST SAMPLE SUBMITTED 

ALEX - Here's a quick fading in and out test. It's not very precise, but you get the idea, the fade can be made more/less gradual as to your liking. If that's not what you had in mind, I can always try to come up with something that bleeds into the other music. 

ME - Yeh, see what you mean, maybe it would be easier to start from scratch and come up with something that might sound similar that, like you say, bleeds into the main theme, like a soft prelude/intro to the tune you've made so far. Just thinking, but what if the transition was mainly piano based, ie: had the acoustic slowly fade out (or come to a soft, natural end) while the piano continued alone, changing somewhat in tone/tempo... and then the repeating acoustic riff in the new tune kinda kicked in? Just an idea, probably sound daft, but I suppose it might be worth trying? I'm spending this week planning the part before the animation hits, so if you wanted to try a few things I should have a good idea of the exact length i'd need it to be by next weekend?

2 INTRO IDEAS SUBMITTED

ALEX - Here's the piano/organ intro, but I feel that it may be to grand and not somber enough for what you're wanting. I've been trying to record the intro idea all morning, but I can't seem to make it fit, even though I thought it would, but I have started to think up a more ambient, droning intro that slowly lends into the track.

ME - I really like what you did with Intro #1, how it builds to it's own crescendo, as it makes the silence that follows, and the actual lead in to the proper track, sounds sooooooo awesomely appropriate. Like you thought though, the piano sounds a little too grand, and the organ doesn't really suit the theme of the video, and overall sounds a little too different from the track that follows, where it would work best if they sounded more alike.

Intro #2 sounds very fitting, but is perhaps a little TOO ambient to start, as though it might need more substance. Really like the "Mexican" theme to it though, works an absolute treat. I think this is the one to build on, just need a little more substance, could it be made as "grand" as Intro 1 perhaps? It does begin to build nicely, just perhaps not soon enough, or large enough, if that makes sense? I know I said the main focus is on the animation part, but I still need to draw the viewer in to the plight and issue with the text and video before hand, so may need some strong emotional music to do just that. Love the end to it, the strumming of the guitar just before the main track hits, lovely. And absolutely suitable.

ALEX -  I shall do my best to add a little more substance to the second intro. It'll probably be that I steal what the first intro has and just add some of that to it. Less droning more structure and emotion. 

I'll wait until you've sorted the text and thing before I finish off the intro, cos like you said, it'll help me out timings and feel. But I'll throw some ideas around and send you my efforts.

Also, I was thinking, would it be possible to accredit the music to Major Gubbins? Only cos I've enjoyed writing and recording this music for you that I'd like to do some under the 'MG' title in the future and it'd be nice, with your permission, to show off our efforts on there. Plus, I don't really do any music under my name anymore.

ANIMATIC COMPLETED

ME - Finished the mock introduction mate, it is basically the very rough looking order of how things are going to run before the main animation actually plays. It is made up from video footage (which will change in the final video, but the tone/theme will be the same), typography that sets the scene and informs the viewer about the issue at hand (will remain largely the same as in this test intro), and animated storyboard shots of what I will be filming when on location drawing the images themselves (very rough looking, but framed similar to the intended shots).

Again, sorry for the rough look of the intro, it is really just to flesh out the ideas, visualize the pre-animation footage, and most importantly, provide you with something to work around.

I've included the intro music you made so you can see how and where it might need a little more dramatic weight and substance, even though I know you've been working on "beefing it up" already! I've also allowed the video to "run into" the animation sequence itself, so you can see how I'll be transitioning into it come the final version. I REALLY liked the tense strumming of the guitar at the end before you led into the main track you made, and I feel this could work very well when used with a long, slow zoom INTO the train itself starting to move, and the animation playing thereafter, so feel free to play around and hold it on for a while here. 

Timing wise, I imagine it's fairly accurate to how long the real thing will last, but it can and probably will be tweaked to fit, so it should give you a good idea of the required length/timing. And hopefully, the content and colour scheme help reflect the style and theme I'll be using, like a rural, rustic kind of feel, of which your work so far has suited to a tee anyway.

ALEX - Thanks for sending me this, it's going to really help me out! I'll re-record most of it to help stretch it out and add drama, but I'll keep the ending and general feel of the second intro. As always, Wednesday is recording day, so I'll do my best to have something done for you for then. Other than that is the rest of the music okay. Do you need a more definite ending or are you simply going to fade out?

ME - You mean at the very end of the whole thing? I was actually gonna mention that yeah. If you could allow a little time after the animation has played for me to wrap things up, ie: mention something about the issue, finish with a follow up shot or two, start the credits rolling, etc, that would be great! Would need to be no more than a minute I think.

SAMPLE SUBMITTED

ALEX - ...a very rough, unfinished, unedited version of the more subtle intro. Both intros can be shortened/lengthened and if you like placed in a different part in the mix. They don't have to be intros, they could be outros instrumental breaks etc. I also plan to write a piano melody for this intro (and maybe for the rest of the track too). Nothing's coming to me yet, but I'll keep plugging away at it!

ANOTHER SAMPLE SUBMITTED


ALEX - Was just working on the instrumental, and I shat out this little piano thing. Might be a bit too classical sounding, but potential outro/intro? Maybe. Let me know...


ME - Yes I like where you're going there Sir! You're right about it perhaps sounding a little too classical, but the backbone of something special is definitely there. I think if you manage to combine the two ideas, and work that sexy mexican sounding guitar back into it then we're golden!


ALEX - I'm trying to build up the second intro a bit. More structure and grandeur, but with a bittersweet lair of melancholy. 

I've been listening to Philip Glass for inspiration. He's excellent at beautiful but grand pieces of music. Not that it'll be anything his stuff, it's just nice to have a left-field point of reference sometimes. 

Plus, I've an idea for the outro, might work, might not, but backwards guitars can sometimes sound like haunting strings, adding honest interest. I'll have a mess and let you decide.

ANDY - Sound very interesting mate, can't wait for the next update!

SAMPLE SUBMITTED

ALEX - Still needs work (mixing, tying up loose ends etc.), but here's one of the new intros. It's much more Mexican than some of the others, but still has same elements. Only thing against is that it could be too dramatic towards the end, but I'll let you decide. More coming soon...

ME - Wow man! Definitely getting there, and oozes potential! I love it! Starts strong, and ties into the main tune well! the theme, style and tone is definitely getting to where I need it, it's amazing hearing it develop! Like you said though, gets a bit too dramatic/crazy towards the end, not entirely sure if that will suit the video. But toned down a tad, that section could REALLY work. Also, don't be afraid to commit more at the start, don't feel like you have to take it easy for fear of overdoing it and keep it light for an "intro's sake, cos as the whole thing has panned out it's become clear to me that the intro should be as important as the main animation, as it's all part of a bigger picture. Keep it up baby, this is gonna be something truly special come completion! 

SAMPLE SUBMITTED

ALEX - I demoed this the other night. Could maybe be an outro, or something like that. If not, I was thinking of using the animation music, but running some kind of effect through it, maybe reversing some of it. How's that sound?

ME - hmmmm... lovely! Can see this playing over the final credits mate yeah, nice work! Still retains the tone of the first two, yet stands on it's own enough to have a purpose. I like it man!

ALEX - Here's a reviewed version of intro #1... Still needs some work, trying to calm it down towards the end is proving to be tricky, but I'll get there. I'll also be adding some percussion to it when I get the chance. It'll hopefully make it sound more complete. Glad you like the demo above. I'll work on fitting something like it into the final piece. Roughly how long would you need it to be?

ME - I'm thinking about 20-30 seconds? But make it as it feels comfortable, and I'll time my stuff to it. I do like the part in the intro that goes a little mad, I'm just worried it won't quite suit what's being shown on screen, which timing wise should be around the time I'm seen drawing the imagery. But honestly, if you're really struggling to tone it down then don't worry about it mate, cos the fact is it DOES sound great, and will still work regardless! Do what you can, but don't pull your hair out over it! It's probably just rough mixing, but the start seems a little quiet? I think if the start was a little louder, it might make the wilder bit towards the end seem less wild? I've just previewed it alongside the mock intro, and it does work mate, so a little polish and fleshing out here and there and I think we're really closing in on it!

-----

And that is the majority of the key dialogue, all the other stuff is just me praising him for being awesome and stuff. My apologies that it is so extensive, but I wanted to include it to give an insight into the collaboration communication and the importance it had in shaping the end result, which I love! It definitely helped, playing off each other and what not. I'd give him a theme, he'd make a quick demo, I told him what worked, he went and revised. I made a moving storyboard, he responded with a well timed piece that suited what he could now see. He made an intricate piece of music, and I responded with my editing to try and fit the tune best.

It was a great experience all in all, and I certainly look forward to further collaborations down the line!

Project Development - Work in Progress

I'm getting there.

Slowly, but surely.

Very, VERY slowly.

Thought I'd check in and let you know how it's going.

I think I've done about half of the images now. I've been following small printed thumbnails so I know what to draw and where to position it, and I've been taking photographs as I go of each image. I've already had to double back and start drawing on the same sections I've already drawn on, as I've simply run out of train, so the initial idea of having it move wouldn't have worked anyway, as the train would have to be about a mile long, which makes me feel less heart broken about dropping it.

I shot a bit of footage today too, for the establishing shots in the video intro. I've got a few more shots in mind too, like for the end credits and stuff, just from areas I've found while wondering around the site here.

I'm so sick of this place. Weather's been crap, my arm is absolutely killing me, and I'm starting to think I chose the wrong idea.

Too late to stop now though, or it will all be for nothing.

I just hope it will be for something.

Right Then, Lets Get This Going!

All my research is done, my planning all sorted, music being developed and a distant deadline getting ever closer.

It's time to put pen to paper, or in this case, chalk to train, and start drawing out my animation.

I'm setting aside ALOT of time for this, as it's not something I can leave and then rush to finish. I'm under no illusion, it's going to take FOREVER, and I'm going to be absolutely SICK TO DEATH OF IT by the end.

So might as well get cracking now, and try and make as much head way as I can.

I doubt I'll be making many more blog posts for a while, as I'll be out on location doing the same thing over, and over, and over, so not much to write home about, but if anythign comes up, I shall get it posted.

LETS DO THIS!!!

Project Development - A Problem

I'm gonna have to change my idea.

I was so proud of my first idea, to draw on a train, and to make THAT move to animate each image. I thought it was genius!

It is also incredibly impractical, and as much as it breaks my heart to do so, I'm going to have to adapt my idea.

I've been delaying the inevitable for so long, but it looks like there's just no way I'm going to be able to MOVE the train in order to animate each frame one by one.

I knew the train yard was abandoned, I just hoped I'd figure something out when it came to it. What I did have in mind was to maybe make a camera dolly or something, and run it alongside the train on a parallel track, making the camera move instead of the train. But the site is just too over grown, there tracks without trains have trees and weeds growing out of them, and the only track that really runs parallel for the same distance isn't really long enough to run the whole animation length.

So yeah, need a new plan.

From the looks of it, my best option is to do a photo montage like in the research videos I looked at, and the test I did of the method.

I shall still be drawing each image afresh on a train, that much remains, but I will be animating them myself after. So it's still got the same backdrop and meaning behind it, the setting is still perfect for my intent, but the idea of an actual object moving and doing the animating for me is something I will save for another time, when it is actually achievable.

I won't lie, I'm a little gutted. I don't like dropping any idea I have unless it's for something better, which I don't feel this is, but what can you do, it's out of my hands. And I'll just have to put even more effort into making what I CAN still do, that extra bit special.

Method Test - Speed Writing

As I'm using text in my video to help set the scene, I wanted to think about how best to use it.

The RSA videos I researched before sprang to mind, with a "speed writing" approach, that showed the text being written, but sped up to work better for an actual viewer.

It would be easy to do this on the side of a train as I draw my images, but I first wanted to find out whether or not it would suit the tone I was going for, so I did a quick test...

Excuse the bad quality and dodgy handwriting, I had to write at a stupid angle due to the camera tripod! But it shows the process used on the intended words, and that's all I needed.

Because I don't think it works.

I don't feel it really suits the tone of my project, the seriousness of the issue. It works for RSA as that's more lighthearted, not to be taken as serious, but in the context of my project, saying the words I will be using, I don't think it would be appropriate.

Still, was worth finding out.

Developing The Intro - Permission for Footage Use GRANTED!!!

Holy crap I got a reply! And a great one at that which bares good news!

----------------

Reply  ▼
 PEDRO ULTRERAS
 Add to contacts
To andybuckdawg@hotmail.com
Dear Buckland,

I thank you for considering The Beast as part of you school project. I have no objection to your petition. As a sole author and right's owner of the documentary La Bestia / The Beast, I authorize you to use NO more than 3 consecutive minutes of video of my film for your project and you can edit and use this video from any where in the film as longs as you don't use if for commercial purpose.

If you need more than three minutes, I will allow you to use two more minutes as long as they are not link the the previews three minutes, they would have to be two different clips 1 of 3 minutes and the other one of 2 minutes.

Please let me know if this ok with you. I wish you luck with your school project and than you again for your interest in my film,

Best,

Pedro Ultreras
Film Director / Photographer
Reporter / Producer
ultrerasp@me.com
www.abcnuncamas.com
602-909-7702

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I'm absolutely stoked!!!

This is fantastic news, and instantly adds that added layer of legitimacy to my project, being able to officially use footage that has been created and broadcast at a professional standard.

It adds credibility to my work, and certainly inspires me to step up my game too!

Plus, if he likes it, it will no doubt serve as great exposure for my video when complete, as he is a well renowned and respected film maker, with many fans and contacts in and of the business.

Wonderful news, I'm actually beaming from ear to ear typing this!

Developing the Intro - Animatic

Finished the mock introduction, I'm including it here for your viewing displeasure! 

It is basically a very rough looking order of how things are going to run before the main animation actually plays.

It is made up from video footage (which will change in the final video, but the tone/theme will be the same), typography that sets the scene and informs the viewer about the issue at hand (will remain largely the same as in this test intro), and animated storyboard shots of what I will be filming when on location drawing the images themselves (very rough looking, but framed similar to the intended shots).

Sorry for the rough look of the intro, it is really just to flesh out the ideas, visualize the pre-animation footage, and most importantly, provide my musical composer something to work around too.

EDIT - I've since met up with my peer group and showed them the intro, it was largely agreed upon that it said what needed to be said and set the scene well enough for the animation to follow, so mission successful.

One thing that wasn't liked by one person was the text describing my actual idea. They said it doesn't really need to be said, and that the video itself should show it, ie: in process, the making of. I can definitely see what they mean, and will think about revising or even removing the text, maybe including some other shots that help say what the text did, as with it being a visual piece, I agree that it would be better to SHOW the process with images rather than DESCRIBE it in words. Useful feedback that I will take on board.

Developing the Intro - The Text

The text in the intro should play a key part in setting the scene, describing the issue in a little more detail. It should be informative, but not overly long. Too much text and I run the risk of boring my viewer with facts and figures, but just enough that cuts to the point and accompanies selected video footage, could work a treat.

It's important that I take the time to really plan this carefully.

So I went back over all my research into the issue, and all the factual resources available to me, and started to put pen to paper, or finger tip to keyboard anyway. I aimed for about 5-6 lines about the issue that let the viewer in on the subject matter, feeding them just enough to keep them hooked, and ideally leading into potential clips that help support the facts and capitalize on the attention given by the viewer.

Here is what I have so far...

"Every day, a freight train runs from Southern Mexico to North America. It is nicknamed "The Train of Death" by all who dare ride it.

Each day, hundreds of poverty stricken Central Americans risk life and limb to climb aboard the train as they seek a better life for themselves and their families in the United States.

For many, the journey runs over thousand's of miles, over the space of many days, and for all, it is long, gruelling, perilous, and full of danger.

For the train runs through gang controlled territory, where armed gang members frequently board and hold the exposed and completely helpless passengers hostage.

Kidnapping. Robbery. Assault. Rape. Mutilation. And even murder are all too common occurences.

Over 60% of the migrants who left their homes for the hope of a better future, never reach their destination."

It's a start. A little rough around the edges, and clearly open to editing as I use it, but right now it just gets down everything that needs to be said I think in relation to setting the scene.

Will probably need to be cut down some, as I do have a tendency to ramble a bit, as I'm sure you'll agree having read this far into my blog... :P

Developing the Intro - Using Footage

I think the use of pre-recorded video footage could be very, very effective if used as part of the introduction.

It will instantly speak volumes to potential viewers about the issue at hand, showing them  in a few instants what would take many more seconds to read about. It also makes the issue REAL, a key component I feel in asking them to care about it. All too many bad things happen that aren't acted upon due to how easy it is for people to turn a blind eye to them, whereas showing actual footage of the issue in question can prevent that. Not in the sense that you want to ram something down a viewers throat, but useful in the sense that it allows them to relate and understand right off the bat.

The only problem with using video footage is getting permission to. Sure, I could just go ahead and use something regardless, hope for the best, or even hide behind the "university/education" curtain, but this is my final project, I don't want to cut corners, I want to do things as I would do them in real life after, professionally.

For that reason, I intend to contact the makers of the very videos that have inspired and informed me throughout this project. Whether it will be a new channel, independant film-maker, or freelance reporter, I'll contact them and ask permission to use their clips in my project.

I might as well aim for the top and see if I can contact the very film-maker behind the initial documentary that brought the issue to my attention, Mr. Pedro Ultreras. I got his email address from his website, and have written this respectful and polite email to kindly ask!

---

Permission for my University Project‏

Dear Mr. Ultreras Sir,

I am a student in England, in the last project of my final year.

For my project, I am creating an animation based on the issues and awareness regarding the "Train of Death", something your incredible documentary "The Beast" brought to my attention. 

I was sincerely moved and touched by your incredible work, so much so that I wish to create my own piece now, an animation with illustrations bringing light to the issue, based on the events that transpire to this day surrounding it.

I was therefore wondering, if I might have your permission to use very short clips from your documentary, in order to set the scene, and inform my audience about the issue, before my main animation started? The clips would be no more than a few seconds long, and I would be making no profit at all from them. They would just be for my university project, and would help me inform my audience before my main animation played.

I will give you full credit for them, and feature links to you and your work in the titles. And I will also gladly show you my final video before I submit it so you can check it is ok. 

Unfortunately, I am only a student, so i could not pay you for your permission either, but if you would allow me the honor of using a few short clips, I would really appreciate it sir, and will do my best to help bring awareness to this issue with my own hard work and creativity.

Please could you inform me either way, whatever you decide, as I am working on my animation right now. Your work is inspiring and brilliant, and if my work can be half as good as yours, then I would be happy!

Thank you for reading Sir, and I look forward to hearing from you soon. 

Warmest regards,

Andy Buckland

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He can only say no right? What have I got to lose? After all, it's my final project, I may as well aim for the stars!

Planning the Introduction

The animation is just one part of the video itself. As this project has developed, it has become clear to me that an introduction to my animation is essential, and perhaps just as important as the animation itself. It will allow me to set the scene and make my viewer aware of the subject at hand, becoming a key component in making them care about it too. 

Whatever story I tell in my animation, without a context it will be meaningless, so I shall now start spending some quality time on planning and building an intro that will form the start to my project as a whole.

In terms of planning an intro, I have a rough idea in my head what it will contain. Ideally, it should have the following.

• Facts or Figures about the issue, in order to inform viewers of the real world implications
• Video footage or photographs relating to the the issue, which help the viewer see with their own eyes how it is
• Shots of the animation coming into form, showing the actual idea and process behind it

For the footage, I know it's a long shot, but I was thinking of asking the director of the actual documentary that inspired me if I could use a small selection of clips. Why a world renowned director would let me leech from his hard work is another story though! But it surely can't hurt to ask...

For the facts and figures, I've done enough research and have acquired enough knowledge regarding the issue to try and write something myself. It should capture the essence of the issue, but not be too detailed to the point of losing my viewer before the issue even grabs them.

And in terms of the shots showing the idea behind the animation coming into fruition, I took my cues from the location scouting photographs I took and the time I spent walking around my intended site. From the images I gathered, I planned a few shots, which I have taken the time to visualize in storyboard form below.

I'd like a wide reaching, long shot of the whole train itself, or at least as far as it can be seen. This will help set the scene and reflect the scale of what I wish to achieve. when this is actually filmed, I'm thinking of maybe fading it with different times, ie: I'm seen at the start drawing at the head of the train, which crossfades into me halfway down it, and again with me at the end. 

A shot like the one above would help show the drawings in a frame-by-frame, side-by-side comparison  showing how each individual image is part of a much bigger picture, and help the viewer get the idea of each one set in motion to create a moving image.

The following shots are just general images of the artist at work, serving as establishment for the process and idea more than anything.

 

I'd like to end the video with a shot of the artist (me, obviously...) walking away down one of the battered train tracks, allowing some final credits to appear at the bottom. It would serve as a relevant and fitting closure to both the theme and idea.

 

I also had an idea of a pan along the train track, which turns right to reveal a dead end bumper. I was thinking of possibly rotoscoping a train and person running alongside it, which would fit within the panning shot itself, and fade out as the dead end bumper was revealed  My idea is to help reflect the helpless, lost cause that in reality, many of the migrants embark on, their journey of hope getting them literally nowhere.

These are just a few ideas for now, and more will likely be added as and when I realise them.

Next step I think is to get in contact with Mr. Pedro Ultreras himself (yikes!) and request permission to use clips from his documentary. Maybe also a few more people or newsgroups that have been behind some of the other videos about the topic. Can't hurt to have a few options.

Also, I need to flesh out the script and try and put on paper what facts, figures and general text I should have introducing my video, the issue, and my idea.

When all of this is done, I shall put it all in rough animatic form, as seeing it up and running will certainly be beneficial to improving it, and also would help the musician i'm working with shape his music around in terms of theme and more accurate timing.

Test Animation - Finished Piece

So putting everything together, this is the test animation for now, obviously still open for edits and additions.

It's very rough around the edges and quite basic in it's visuals, but it's by no means something I'm submitting as a final polished product. Like I stated before it's simply a means to an end, something I need to see in action so I can launch the rest of the video project off of. I could go back in and tidy a few things up but really there wouldn't be a huge point, it serves its purpose, rough as it may be!

In terms of content I think it should perhaps end a little stronger, and it might differ in length depending on the space available to draw the frames, but for now at least it's SOMETHING, with which the rest of the video can be built on.

It also features a track from the musician I'm working with to create an original composition of music for the final piece, Alexander Stanton, used here in order to help reflect the tone I'm aiming for.

Test Animation - Whales, Sharks, Water and Clouds!

Continuing to look at animal life, in order to get a better feel for the illustrations for my animation. This time I looked within the ocean.

In my story, as the birds fly to sea, they take refuge on the back of a humpback whale. The bulk of the whale need not be animated, but in order to give it life I wanted to have its spout animated, plus I'd like to see its tail splash up to set the scene of it's existence within the waves.

From the prior research I did into studying the movement and motion of each of these creatures, these are the rough animations I have come up with so far. Right now, they are very basic, but they will at the very least help me piece together some sort of moving storyboard that I can then plan more off.

WHALE TAIL EMERGING ON SURFACE

WHALE SPOUT

WATER SPLASH

SHARK SWIMMING

SHARK ATTACKING

No need to animate these, as they can be used as simple two frame drawings I think.

OTHER SKETCHES

Just a few more drawings to help bring that little extra bit of life to the animation.

Now the sketches and segments are done, it's time to piece this together into a moving animatic.

Test Animation - Birds in Flight

Just trying to visualise my idea and animate my storyboard in more detail, so I know exactly what I'm going to draw on the train to form the story of my idea.

Watched a lot of footage of animal life, in this instance, a bird in flight, in order to study their movements and form so I might best capture them on screen.

The following are rough, basic animation of my quick sketches in relation to these videos, and have been made to help put together a working animatic of the animation section of my intended video. It may seem like a lot of effort for just a simple animatic, and yes, truth is I've probably done more drawing for this test than I have in any previous animation project, but I really need to see how the idea looks in motion so I can make any changes or additions to the core of the story before I start recreating the tale on the train itself.

So here's what I have so far, each clip being looped so that I might use it throughout and almost "cheat" within the animation itself. Again, sorry about the quality of drawing, haha, it's pretty crappy, but my main focus was on movement and angles.

BIRD IN FLIGHT - FROM FRONT

BIRD IN FLIGHT - FROM SIDE

BIRD COMING TO LAND

Very rough, but don't need them to be anything spectacular at this point! They are but a means to an end.

Animation & Illustration Research - Studying the Marine Life

In order to be able to draw these creatures better, and have them move more accuratley, I've spent some quality time looking at video footage of them in motion.

The reason for this is that it will get me used to their form, their function, the fluidity of each creature, as if i'm redrawing from scratch each time, it is in my best interest to become as familiar as possible with them.

The following videos show some of the footage I've been looking at.

BIRD IN FLIGHT

SHARKS SWIMMING

WHALE TAIL

Studying these videos will aid me immensely when it comes to understanding how they move and as a result, how best to draw each step of them doing just that. I'll keep watching others too, from different angles, as the more I can do with each creature, then the wider scope I'll have when it comes to assembling an animation with them.

Primary Test - Ribbon to Bird Transition

I had an idea to start the animation off with a ribbon, which when pulled open forms into a bird, then leading into the opening shot of a bird in flight.

To me, the ribbon symbolizes being bound, restricted, confined, trapped, like many of the immigrants feel before taking the perilous journey north. The act of untying the ribbon symbolizes their act of breaking free and starting their journey to greener pastures.

I wanted to see how it might look in motion, so set about drawing the animated transition and setting it in motion. Here's a quick test and how it came out...

As an animation it needs work, but I've got to bare in mind my limitations in re-drawing this, in chalk, on a rusty surface, with a limited number of frames to work with.

Location Scouting - Photo Album

Location Research - Healey's History

Researched further information about the history of the site.

The following is taken from the ever reliable Wikipedia.

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Healey is a small village and industrial district on the east bank of the River Calder in the southwestern outskirts of Ossett, near Wakefield in West Yorkshire, England. It developed during the industrial revolution when three cloth and fulling mills were built.
The railway sidings at Healey Mills are located to the east of the village, south of Ossett and west of Horbury between Wakefield Kirkgate railway station and Mirfield railway station on the former Manchester and Leeds Railway. The sidings were redeveloped as part of the British Rail Modernisation Plan as a hump marshalling yard.

There is evidence of human activity around Healey from prehistoric and historic times including Bronze Age burials, agriculture during the Roman period, quarrying but no agriculture during the medieval period, and ridge and furrow agriculture from the post medieval period. The River Calder was forded west of Healey by the Romans, and a ferry operated near to Healey New Mill.[1]
The Calder and Hebble Navigation was built during latter half of the 18th century, and connected to the River Calder nearby by a lock. Healey Mill was established by 1791,[2] Healey Low Mill by 1817.[2][3] and Healey New Mill by 1827.[3][4]

The 1850s railway bridge over the River Calder, the chimney of Healey New Mill in the background
The Manchester and Leeds Railway was built and passed through by 1840. As part of the construction a new cut was made in the Calder bypassing a sharp bend in the river, which in the course of the work severed the road to the mill . This resulted in a legal complaint from the owners of Healey New Mill which lay on the part of the Calder that would be bypassed. The courts found in the railway company's favour.[5] A five arch bridge was built to carry the line over the new cut.[1] Due to the delay in construction because of the court case, when the railway was opened, the Calder was crossed by a temporary wooden bridge.[6] In 1851 the railway's owners announced that they planned to divert the river down the new cut, but the plan was never realised and a three span bridge was built replacing the wooden bridge.[1]

By 1854 there were three separate mills and "The Millers Arms Inn" in the close area.[7] The new cut was unconnected to the Calder River,[7] the part north of the five span bridge was partially filled andused for the construction of a dyework (later becoming Calder Vale Mill), the southern part was used as a mill pond.[1][8]

On Healey Road Osset Gas works was built in 1855,[1] and a Sewage Works constructed to the south of it in the 1870s after the passing of the Local Government Board Act 1871.[9] The original houses in Healey and on Healey Road were built in the late Victorian era.[8]

In the 1960s the conversion of the sidings east of Healey into a modernised railway shunting yard brought several major changes. The route of the river Calder east of Healey was altered, being moved south to create more space for the new marshalling yard, the 1800s mill pond formed by the attempted re-routing of the Calder for the original Manchester and Leeds rail link was filled in, Healey Low Mill was demolished, the Healey Road sewage works removed,[1] and three additional rail bridges built to carry the tracks across the Calder.

Healey Mill Yard and diesel depot, (April 1982)

By 1920 extensive railway sidings had been developed on the railway line eastsoutheast of Healey,[10] named Healey Mill Sidings. In the 1960s, as part of a modernisation plan, the sidings were re-designed for more efficient wagon load handling.[11]

Construction included cutting a new channel over 1,000 yards long for the River Calder south of the original, levelling of the site with over 1 million cubic yards of infill, the re-construction and extension of a road bridge at the east end of the site near Horbury Bridge, the construction of three railway bridges over the River Calder, and diversion of gas and electricity mains.[11]

The new yard was built as a hump shunting (gravity) yard capable of handling 4,000 wagons a day. The reception sidings were built west of the River Calder, the main yard was built on the extended site of the former sidings. The main control tower was located south of the main line and the Calder Vale Dye Works near to the river.[11][12][13] The yard opened in 1963 at a cost of £3.5 million.[14][15] The diesel motive power depot at Healey Mills (Healey Mills Diesel Depot or Healey Mills TMD) opened in 1967.[16]

After the marshalling yard closed in 1987, the site was used for storage of trains and locomotives.[17] After the privatisation of British Rail the site was operated by EWS; an assessment was made of a future requirement of six long doubled ended sidings and further short single ended sidings.[18]
After 2010 the site's use was limited to crew changes; the driver depot at Healey Mills closed in 2012, being relocated to portacabins at Wakefield Kirkgate station after 4 February 2012.[17]
[edit]Today

Healey New Mill is extant and used as industrial units. The mill and chimney are grade II listed buildings.[19] The 1872 inn, The Millers Arms, exists as The Brewer's Pride.[20]
In 2011. Healey's only public transport service is the 102 bus operated by Arriva on behalf of the West Yorkshire Passenger Transport Executive which links to Wakefield via Ossett.[1]

Location Scouting - Healey Mills

Location Research - Healey Mills

With my idea in mind now, I needed to find out it is realistically achieveable. No point going any further if I simply cannot make my idea a reality. And with no luck on the National Rail side of things, I'm running out of options in how I might pull this off.

First step then is to find a suitable location and resources in order to even stand a chance.

I hit the Google high waves, and after trying many combinations of search terms, I typed in "Train Graveyard" to see what came up. And much to my delight, I got lucky.

I came to learn about a place called "Healey Mills", which is in West Yorkshire. I got excited, as it was an abandoned train yard, with abandoned trains, that more importantly, was relatively close.

Suddenly, my idea was becoming realistic.

The site I checked out was called Urban Ghosts, and the images taken from the site started to interest me very much...

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Exploring the Train Graveyard at Healey Mills, West Yorkshire

September 18th, 2011, In Featured, Urban Exploration, by Tom

Even though Healey Mills Traction Depot near Wakefield in northern England officially closed in 1987, an impressive assortment of abandoned trains and railway buildings continue to haunt the forgotten site. Extensive sidings were present by the 1920s, and today’s eerie scene is a far cry from 1963 when Healey Mills was modified to handle 4,000 wagons each day. Despite the infrastructure, Healey’s only public transport service by 2011 was the number 102 bus from Wakefield to Ossett.

The Healey Mills Sidings are a sad reflection of Britain’s great railway past. But the overgrown tracks and forlorn diesel engines have captured the attention of urban explorers intent on documenting their decay in atmospheric images. Abandoned railway stations and tracks are fascinating in their own right, but like this post-Soviet aircraft graveyard discovered on a Far East Russian air base, the presence of defunct machines fuels the imagination and helps bring abandoned places to life.

Despite the yard’s closure 25 years ago, these rusting Class 56 locomotives are a more recent addition. Operated latterly by English, Welsh and Scottish Railway (EWS), they were likely stored here from 2004 after the company withdrew most of the fleet. Quietly awaiting their fate – most likely the breaker – they’ve become the subject of urban exploration, captured by the likes of Urban Outlaw and Phill.d, and featured on sites such as Derelict Places.

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A little further digging brought me to an article on this website here...

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End of the Line for Healey Mills Depot and Marshalling Yard Built 50 Years Ago
Published 16th March 2012

(Source - http://www.rail.co.uk/rail-news/2012/end-of-the-line-for-healey-mills-depot/)

Final Operations Cease at Once Important Yorkshire Railway Yards
One of the UK’s most well-known freight railway locations has finally closed after a protracted run-down, as DB Schenker closed its staff depot at Healey Mills, West Yorkshire. The 140-acre site was once one of Europe’s largest marshalling yards, but over the past two decades the yards have become obsolete, the depot closed and now freight trains no longer call there to change crews.

Healey Mills opened in 1963 in attempt to modernise wagon-load traffic. It replaced a dozen smaller yards in the area and its purpose was to improve the efficiency of sorting and marshalling wagons into trains before sending them off to their destination. The yards featured hump-shunting, in which wagons were pushed over a ‘hump’, freewheeled into the required siding, and braked using special retarders next to the rails - all controlled from a centralised operations tower.

A purpose-built diesel depot opened alongside the yards at the end of 1966 and the two facilities saw round the clock activity with a claimed capacity of 4,000 wagons per day. Situated to the west of Wakefield, Healey Mills was ideally located for sending and receiving trains to all parts of the country, as well as handling the large number of local coal trains at the time.

But wagon-load railfreight came under increasing threat in the 1970s and 1980s due to competition from road transport. Then a double blow came with the decline of the Yorkshire coal industry and resultant reduction in coal trains, which had once formed up to 50 percent of traffic at Healey Mills.

As a result, the depot lost its own allocation of locomotives in 1984 and the marshalling yards closed in 1987 - although both were still used for stabling locomotives and trains until the early 2000s.

The redundant sidings were then used to store long lines of withdrawn Class 37, 47, 56 and 58 locomotives until 2010, after which the only operations at Healey Mills were for crew changes of passing freight trains.

From February 4, these crew changes now take place a few miles away at Wakefield Kirkgate station, where portable cabins have been installed as temporary offices. All that remains at Healey Mills are the overgrown sidings, a few redundant wagons, and the buildings awaiting demolition.

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Right now, I'm excited as hell! Looks like I might have just come across my perfect site!

Now to actually find it...