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We feel like her arms need to be re-worked. Have the clouds moving slightly throughout In the beginning, letвЂ™s have the two closed flowers vibrate only once or twice before opening.ДЄllow the blur to hold longer, as we see her enter frame, letвЂ™s rack focus slowly to her. To give you an idea of how much work goes into each scene, take a look at this rough and review the notes below.Д¬oat of ArmsвЂ™ feedback on Scenes 1A to 2B: HereвЂ™s a draft of the opening sequence Nilsson sent us. She helped make tweaks and finesse character movements in our final push to complete the filmвЂ™s animation. It wasnвЂ™t until the end of animating that we brought in some additional help with Rachel Yonda. Nilsson worked for three months, animating Death Loves Life by himself. While they conversed in English for our meetings and group emails, it was exciting to see two exceptional artists on either side of the вЂњpondвЂќ represent for the Portuguese speakers of the world! It also helps that both gents speak Portuguese (Lira hails from Brazil and Nilsson from Portugal). He and Lira were able to easily pass files back and forth, and Nilsson could manipulate them with ease as needed. His ability and experience as both an illustrator and animator made the hand-off seamless. Prior to this project and since then, we have worked with Nilsson several times on commercial projects. And what a great decision it was!ДЄs Lira prepared the characters for animation, designed all the props in each scene, and finalized sceneries, we readied one of our favorite illustrators/animators, Ricardo NilssonВ for his role. So, we all agreed we should bring another artist on board for the animation phase.

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However, he was pitching his own animated series with Nickelodeon, Harrdy, and needed time to work on his pilot. Here is the color script from Up, created by the talented artist Lou Romano.В If you havenвЂ™t seen Up yet, this color script has SPOILERS:ДЄlong with illustration, Lira animates as well. You see your entire animated film at a glance.Д®very Pixar film, for example, has a color script. A color script gives directors an opportunity to review and map out the lighting, emotion, and color of a film. With storyboards complete, it was time to work on the color script. A small character, but one of our favorites now! COLOR SCRIPT The hope is that this character will help us laugh at DeathвЂ™s unsuccessful attempts to win LifeвЂ™s love and approval.

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We decided the sickleвЂ™s responses should reflect how the audience may feel or respond to his actions.ДЇor example, as Death tries to woo Life, the sickle is shocked and dismayed by his actions, which gives the audience a license to feel more comfortable with their own reactions to DeathвЂ™s mistakes.

As Lira illustrated Death, he felt that a bird-like sickle would allow us to add some comic relief to DeathвЂ™s character. In our original script, Death carried an inanimate sickle. While boarding and developing the illustrations, Lira created a new character: DeathвЂ™s sickle. HereвЂ™s just one example of LiraвЂ™s artistic talent: We even chose illustrator extraordinaire, Henrique Lira with the express wishes to give the piece more warmth. ItвЂ™s a cartoon and plays off of that medium purposefully. We wanted viewers to live with and pull emotion from each characters actions, their environment, and the music.ДЄlthough the subtext is rather foreboding, this film is meant to be fun and light-hearted. This decision derived from a desire to keep both characters somewhat pure. We chose to exclude dialogue from the film. Meanwhile, Life is an airy, organic, and sunny character that lives in every moment fully. In his attempts to befriend her, Death missteps at every encounter with Life. Death and Life collide in perfect opposition to one another, and the script is interspersed with some semi-dark comedic moments.Дeath is an awkward, stiff character, who is enthralled by LifeвЂ™s vivacity and innocence. To keep the budget reasonable, four minutes was the maximum we could afford to invest.ДЄfter outlining the story with Lacocque over stout coffee and buttery toast, Lehmann forged ahead by writing a short script that embraced a young but forbidden love between a boy named Death and a girl named Life.

We knew we wanted to animate the short and that we would be financing the endeavor ourselves. Why so short? To be completely honest, it came down to money.

From this passage, we were inspired to write a short film, with the hope that we could find a fun and playful way to explore such a heavy topic in under four minutes of screen time. We loved the imagery MartelвЂ™s words evoke. The personification of death and his envious desire for life intrigued us.

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