Asylum_ProductionBible_Comp_PDF_Bind

Contents

4. Introduction 22. Characters
5. Concept 23. David (The Patient) One
24. David (The Patient) Two
6. Initial Concept One 25. The Doctor
7. Initial Concept Two 26. Porter #1
8. Moodboard 27. Porter #2
9. Style Sheet 28. Porter Costume Design
10. Planning 29. Mother
11. Gantt One 30. Father
12. Gantt Two
13. Script 31. Colour
14. Script One 32. Colour Variation One
15. Script Two 33. Colour Variation Two
16. Storyboard 34. Spot Colour
17. Initial Storyboard
18. Working Storyboard 35. Effects
19. Environment 36. Further Development
20. Environment One 37. Reference
21. Environment Two

Introduction

This booklet presents pre-production, concept, design and planning work as a guide to further
development and production of a short animated film, Asylum – This State of Mind.
The story of Asylum was first inspired by the suggestion that patients suffering psychoses
could learn not to manifest their symptoms, that they could come to recognise that their
delusions were not shared by others (GOFFMAN 1990, p. 29-30).
This idea would be developed into a concept which would look at themes of authority, control,
freedom and personal awareness. It would also seek to blur the lines between internalised thought
and external experience.

Synopsis

David, the patient, takes a journey to the Doctor’s office. He is determined to provide the Doctor with
a performance that would secure his release. While David attempts to steer a path towards his goal,
he is beset by the other inmates, apparitions from his own past, determined to keep him from freedom.
The Doctor, of course, will not, cannot release him and it is revealed that David is alone, that all
other characters are products of his psychosis. He is a prisoner in his own mind.

Themes

The themes of authority and control are represented by the characters that inhabit Asylum.
David’s past haunts him and these apparitions exert control through his inability to let
them go.
The environment of the journey (the corridor) is designed to be imposing in scale while
enclosed and claustrophobic, the antithesis of the freedom David craves.
The Doctor’s office represents David’s chance freedom, the gold at the
end of the rainbow, the desire which can never be realised.

4

CONCEPT 5

cInhiatriaacltnerost,eesnwveirreonprmodeuntceadnwdhinicfhluweonuclidngstfaarctttoorsd.efine the nature of the protagonist, antagonist, supporting

Here, the themes of authority and control began to take shape alongside investigations into psychoses and
psychological theory.

6 Consideration was also given to mise-en-scene which would support the story and characters.

The seeds of a story were explored in brief notes. These included a few specific ideas which would be further
developed in the scripting and storyboard phases.

Also noted are Mid-Century-Modern influences on design and visual style alongside ideas for effects
which might serve to progress the story by reinforcing a sense of the unreal.

7

ipWnElldMaacxheocyvpoileloleeomeodrlureoiebardpmn,otmtattaooerreagxdpynentrwstsuodkwdoortfuereerkttrcaacehenhwnemasedaapsomcsanrcheioroinmaenmcntartbaeacarinytecngfidteeowuee.dnrdlo..wlutyoiltdspherlloeepvachitddoettedoo,agasresatrreapanhrntdidiiconprmigetfpoaeuorpiespnnjrtucoefaxoitcrmhatpahtoogeseivstiiwsounerasel

8

bBCydIoclenTraaovhstnrsaeeesctlrinhoedicpimoie,drtic,eNnpeissfcogiioutrgorasanrnmRnrsyotatoifotymnautulnahBersendeefe,olpMmapreGrniotroeddihdddo-eeuedCWrsnecbenwtniyr,lvaetlcdpiuisoerarlcorsoomiynodgunumnsMrs.c,ieedotrpndsieaotresn.etrudntciewhmsrtnhaayiasglleeFnerwrdytaao.tnukekxlitdnLigllleenoadyodetdsteiWogontfrhmiwegoheidrntee,crcOonorsnvpreosaiwrdladeotorrikeodnininogfs both

9

PLANNING

In planning the course of the project, specific consideration was given to the circumstances of the developer
as a part time student.
Although the remit for the submission of planning would be restricted by the assignment brief, the
timescale for completion of the entire animation project would be extended by twelve months in this case.

11

mFuovrtehdeirnptloatnhneipnrgodduoccutimonenpthsawsee.re produced to monitor asset development as the project
dAegvaelinop,mcoennstidtehrirnouggthhetotitmheesscuamlemoferthofe2p0r1o9j.ect, these projections are designed to take
acAhnsesicemktsaewdtieaorngea.sipnlistt irneqtuo itrheemirencotns sftoirtdueesnigtne,ldemeveenlotps manendtt,hmeiordpelrloignregs,stceoxutludrtinhegnabned

12

SCRIPT 13

144

15

STORYBOARD

Initial storyboard swkoertkchceosn,cpehnottroamteodnotnagthe eaonpdenovinerg-pshaoitnstoifntghoefa3nDicmonatceiopnt and
comprised a mix of sculpting.

While useful in pexropvleorfianrgttohoetsitmrue cintuterne soifvtehteosecashrroytstahnrodudgehvetloopainfuglllosotko,rythboisard.
approach would

17

A more concise storyboard was produced to cover the entire story.

tWhiisthwaasldaersgigelnyedlitnoedaerscarpibperoaajcohuprnuenycttuowataerddsbya emotive close-up shots,
goal.

eWxpietchtafutirotnhetrhdaetvaelogpremaetnertvofacrhieatyraocftsehrsotanadngenlevs iarnondmleenngtt,hthweirlelibsearnequired.

18

ENVIRONMENT 19

Through development of the story, it soon became apparent that
the environment must represent the themes while also conveying
a sense of character.
The environment is divided into two main zones separated by a
physical barrier but also by colour and lighting.
The overall sense is ecclesiastical with the corridor being the nave
and the office representing the chancel with altar and apse.
The Doctor is presented on a dais, behind his desk-altar, signifying
his position and authority. His space is bathed in a warm light.
The image is of a place of welcome, home and sanctuary.
This illusion is shattered at the close of the story to reveal the
true design of the room, a cell like any other, cold and bare.
The space within the office is designed to reflect a cell with
illusory aspects stretching beyond the walls. The areas to either
side are shadowed and the window is revealed to be that of a cell
complete with bars. The cell-bar motif is reinforced by the
addition of a screen which divides the room and allows thin
strips of light to penetrate into the shadowed areas.
Scale was an important factor of the environment design, not
only in achieving a sense of realism but also in conveying some
sense of grandeur while feeling tight and claustrophobic.
The solution was to build with high ceilings (making the
patient appear smaller, impotent) and to restrict the floor space
using props and lighting (or shadow). As characters are added to
the scene, this would restrict the space even further and bring
the protagonist uncomfortably close to his apparitions.
The corridor is deliberately linear in design. This generates a sense
of a set path and inevitability. The goal is clearly defined, the
destination highlighted by a strong colour and strong perspective
lines.
While this linearity is important, it was also important to avoid
the environment becoming a simple box. Glimpses of cell spaces to
either side add interest and provide opportunities for variety in
lighting. They also allow characters to enter and leave the scene,
to jump in or loom from the darkness, as the story progresses.

20

Where convention would suggest that a story should move forward and read from left to right, the environment takes the viewer in the
opposite direction, returning, heading homewards to the source.
Through further development, the corridor will be heavily lined with pipework and ducting. The overall effect will suggest the inner
workings, vessels and veins of the human body.

21

CHARACTERS

David is the patient, an inmate confined to the asylum.
DHae vkindocwasntohnelseyfraecmesemanbedrvtohicisesptlahcaetbsuutrrhoue kndnohwims fnaocwes.and voices from his past.
Htheeids otchteorinwnilolcegnrat.nWt hidime efyreededaonmd. childlike, he exists in this place always hoping

Freedom from the only place he knows.

23

fDoaTrahevvheiisepduah’asdyelisxstiacahagecglmleaureapewptteehodaitcrehahyenelssectaaeornnoyfsdewteaoaiwctrhhsasicrunhdsgahgcrieaassrtcmitcheianirstdiurseardceneespwditghiintvihesedosnmuteotsasrblteelfocmloaemcoutuidnttihhogeacsiianrgrdpntsivoyfoiicnsehus-elaa.ilknTeehil.neemachbeinaltritas.ycHtteiorssce’ondmelasmirgugnensdiaciamtet.o satisfy

24

ThHhoWbleeedDthsiiwniotlcsgeeteaDohntraeDhivisisaitstdvhah’iseledftecuaamartnbr-udeolrridfekirameiennededdnehoasmtiksso.hiafgantnhndoeddfsei.hsstpoaepnbelsaiessnhhdmihseednaital.igHnngeo,siehsset. hiseaalrsboitthere of thought and reality,
jailer and the barrier

25

The Porters police the asylum. They ianrettemhepperh.yHsiecraulleens fboyrcienmtiemntidtaottihone ,Dhouctmori’lsipastyiocnhoalongdictahlebonds.
mean and violent
Porter #1 visiosmleanlcle,.
threat of

He is the foil to Porter #2.

26

aThPnhiodserwtPmeioralrl#nteo2arngsiiDcsnahagnuvcgbiodeem,isphneelesnitaisaanptscaurete.rpieerbneustetnwmtiitanhnghatigwsecoshbstayyrcgloeens. osefnetn.fAorlctihnogutghhe quite capable of forcing
will of the establishment

27

TceouohnnmnevtipiPhfrloooeerrnmmttmueesrnneosn’fitccthtso.hosoTtsfepuhipiremtrcyiaheelsasutoarsrrercdaeahendr-hldelisiyteikbshg.enreieddbtaosed
Tsstethhvyeeeluretahnaleinmiftdoeerfrmaiatnsttwidhonefaurstenbwdeceftavoisroeenlaosp.peptertdoltpinhrirgaooutnegthao
Odiatnenhvtdeeorluaocpcshaceaodburiialnnicttttyhest.reos’rsyaco,msateugwem,asetysywtlaeo,uktlihdnebgme e

28

MAwofolhttbehhenieonruhgigeshhwaeslashdysemaastnbsrmdoulagaoglffllelewcodvhtseimhladra.onulHdlgesahtcrrattehennfegaotlnchotslssybporrfoaekFsmseaenedtmhtohnebrer,troosuhhhgeehirmtnoa.oodwwveatrhssirltooyust.gtho David
a sense

29

TbRo(eFefmDatouratoehrvrenteiarrdienkwhcgeiaennhsigtsomlmahyeliedswd,ioechawfaieynnlrsleeyaldmifddaaeiis.ssictpnhaoesandtrt-dgticershdtaaaufrnrmoatmcaatttenihrcdeasstnaurrdfemfsmes)yree.msduroferfcyeu.rirnrignsgheepllissohdoecsk

30

COLOUR 31

The proxy environment model was used to examine the effect of colour within the scene.
Taliesin palette as a
Icnonittieamllpyo,racorlyoubarssewfeorrefdurratwhenr from Frank Lloyd Wright’s
investigation.

Twwitohmdaainngecrol(owurasrwnienregssaigmnps,lebdeefsoratnhdewwaaslpls)ofatnhderDedo.ctor’s office. Yellow for its association

32

Red would Tevheins wtuaaslmlyorbeeicnhkoseeenpiansgitwnitoht otnhleyilsluugsgoersytsedxapnergieernbcue twahliscohwlaarymbtehy,onbldootdhae nd
the heart.
Doctor’s door.
In contrast, the corridor, the path would be colder and less welcoming.

33

Primary and secondary spot colours were tested against a variety of iterations.

aThppelaieidmtoofdtrhaiws waotrtkenwtiaosnttoodfeovcealloppoaincotlsowuhr islcehseimtteinwgitwhitahcicnentthsetshcahtemcoeualds be
a whole.

Some extreme contrast was tested alongside more subtle combinations.

34

Rotaion of layers Scaling of layers Vertical moMveomveenmtemnattochf elsacyameresra pedestal

Note the focal point at the far doorway focal point at the far doorway

EFFECTS oMSbfrRaTeecUomomnahvitsdoldeeiaatienoubntiiagfonilsglonueslniifoaeonmboffyorlclpfsuhaedahlrtranryeasha.ncevraPeworpninslueesiearuncirllpmoydagfleuoeaanbltcrlehyteudsdefaieecsbfdcr.opeeeusuAcycp.ulhtllEeradssireeoaerowapfddmcmrsathttoafhoosodulvtecuspairioevecctmynmdehiaeseeieaeirblswndrtaewdeaetfrrriraralze(e.otdsazfamiftyansoehntiacsdnehtanetm.gefrTm,fatceedhreaceceanikantssnttniswwransosefbaogfoooiursfdfmlmleiivrdssxooeoiivptndasrualeigcteomatconreieelefpotndlnfniry.etnotcuTwd.rgthueaM.otpictuRhsraeeeloewttdtstcvehhaarhnieeetseitciwdancioeaenncigesvhmgritcr)eihsoeeehaucrdevaoiledesfu’dtdftisrlfrsabdodeeiynocclnblsttgoels.ipepyobirenlneroiecvtrcofetfefezpiensmontctottiigomrgo,vencabd.oe.etlmoceonoduemnfaruitninmrwytghaofmuegorceol.asrdeilgnbpitlvouoieniranrtendwdi.ivhmTiidhpcuhirseawswlsioorouuendll,ddgreen

35

Further Development

Planning Colour

Collation of asset requirements - This will allow for the efficient Palette to be finalised. This is expected to be open to minor changes
creation of assets to populate the environment. This process will while lighting remains in development.
identify where assets share geometry or textures and any
modifications required to avoid repetition. Effects

Script The “chromatic aberration” effect must be applied to an animated
sequence to examine the various effects it might produce. Further
Small alterations may be required prior to production. work is required on the ideas of animated bump or displacement maps
as identified in the initial concept work.
Storyboard
Moving into production
Re-examination of shots - This process will continue and inform
the creation of the 3D animatic. Where any shots are found to be Working to an extended timescale, modelling, texturing and
redundant in progressing the story, they will be cut or altered. character rigging processes are expected to be near completion by
September 2018.
Environment Next steps will involve:

Continue the creation of proxy models to ensure scale is correct - Further work on character movement
and suitable for the story. Character proxies will also be used to - Sculpting all characters (ensuring consistent look)
examine shots and movement through the scene. A well populated - Proxy modelling of all environmental elements
environment will allow for lighting and shadow to be finalised. - Production of a 3D animatic
- Collecting, creating and applying textures
Character - Finalising lighting
- Retopology and rigging of characters
Basic proxy models to be completed as soon as possible. Sculpts will This plan will allow for the completion of the project during the
also be created as a basis for retopology, rigging and animation. 3D Film making module and by the close of semester two of the
Concept sculpts will be based on character development sketches 2018-19 academic year.
before being finalised, retopologised and rigged.

Costume

Costume design to be completed for all characters. Consideration to
be given to complexity and animation requirements at this stage.

36

References - Web sourced images Harvard reference for montage images - Please see page references in lieu of in-text citations

Anon, (2018). [image] Available at: http://www.myfreetextures.com/wp-content Anon, (2018). [image] Available at: http://www.newswise.com/images/ Anon, (2018). [image] Available at: http://smhttp-ssl-65014.nexcesscdn.net/media
/uploads/2014/11/old-brown- paper-texture-image.jpg [Accessed 4 Jan. 2018]. uploads/2011/03/21/ KJV yleaforiginal.JPG [Accessed 4 Jan. 2018]. /catalog/product/cache/1/image/ 9df78eab33525d08d6e5fb8d27136e95/h/s/
Pages 3,4,20,21 Pages 14,15 hsr7796a-1-1494421867.jpg [Accessed 4 Jan. 2018].
Anon, (2018). [image] Available at: http://exhibits.library.uvic.ca/uploads/ Page 19
spotlight/resources/upload/url/ 3613/jpeg_2016-001_ScrpBk1_28-verso.jpg
[Accessed 4 Jan. 2018]. Anon, (2018). [image] Available at: http://watts1858.co.uk/images/ Anon, (2018). [image] Available at: http://diaryofa tnessfreak. les.wordpress.com
Page 5 thumbnails/4663/4663/detailed/2/ mst_fp_10575.jpg /2015/01/co ee-for-good.jpg [Accessed 4 Jan. 2018].
Anon, (2018). [image] Available at: http://img0.etsystatic.com/166/0/14874847/ [Accessed 4 Jan. 2018]. Page 19
il_fullxfull.1186345810_reld.jpg [Accessed 4 Jan. 2018]. Page 16
Page 5
Anon, (2018). [image] Available at: http://i.pinimg.com/originals/94/4c/91/ Anon, (2018). [image] Available at: http://recordmecca.com/wp-content/ Anon, (2018). [image] Available at: http://diegosalazar.com/wp-content/uploads
944c91e9 cd8d8ba0597e7950aa3ad1.jpg [Accessed 4 Jan. 2018]. uploads/2015/07/ 2015-06-15-12.02.10.jpg [Accessed 4 Jan. 2018]. /2015/11/20150901_DSAF_I085A.jpg [Accessed 4 Jan. 2018].
Page 5 Page 16 Page 22
Anon, (2018). [image] Available at: http://journeyleaf.typepad.com/.a/
6a00e554d86f24883301a3fd35f6f9970b-pi [Accessed 4 Jan. 2018]. Anon, (2018). [image] Available at: http://recordmecca.com/wp-content/ Anon, (2018). [image] Available at: http://www.wildtextures.com/wp-content/
Page 5 uploads/2015/10/ 2015-06-15-11.59.32.jpg [Accessed 4 Jan. 2018]. uploads/wildtextures_ burgundy-painted-wood-surface-1280x894.jpg
Anon, (2018). [image] Available at: http://farm4.static. ickr.com/3107/ Page 16 Accessed 4 Jan. 2018].
3233949378_c7deb98dc0_b.jpg [Accessed 4 Jan. 2018]. Page 22
Page 5
Anon, (2018). [image] Available at: http://i.pinimg.com/originals/42/56/c8/ Anon, (2018). [image] Available at: http://texture.ninja/wp-content/uploads/
4256c800d31b97bb38f2dc992ac32599.jpg [Accessed 4 Jan. 2018]. Tiles-2-1.jpg [Accessed 4 Jan. 2018].
Page 16 Page 22

Anon, (2018). [image] Available at: http://www.wayne-book.com/ Anon, (2018). [image] Available at: http://orig00.deviantart.net/a5e8/f/2011/
module.php?i=item& action=play&a=1295 [Accessed 4 Jan. 2018]. 136/a/a/note_paper_by_ stoostock-d3ghe2x.jpg [Accessed 4 Jan. 2018].
Pages 16,19 Pages 23-30

Anon, (2018). [image] Available at: http://ladyleemanila. les.wordpress.com/ Anon, (2018). [image] Available at: http://careray.com/wp-content/uploads Anon, (2018). [image] Available at: http://i.redd.it/7ag6si6nrdly.jpg
2015/12/jesusletter18001.jpg?w=1200 [Accessed 4 Jan. 2018]. /2016/10/medical-20.jpg [Accessed 4 Jan. 2018]. [Accessed 4 Jan. 2018].
Page 5 Page 16 Page26
Anon, (2018). [image] Available at: http://static-secure.guim.co.uk/sys-images/
Anon, (2018). [image] Available at: http://static.pexels.com/photos/459480/ Anon, (2018). [image] Available at: http://img1.etsystatic.com/189/0/ Guardian/Pix/pictures/2014/5/15/ 1400163996124/09d51331-03 -424d-915e-
pexels-photo-459480.jpeg [Accessed 4 Jan. 2018]. 6057601/il_fullxfull. [Accessed 4 Jan. 2018].1380451777_rfgt.jpg 420432a8c182-2060x1236.jpeg [Accessed 4 Jan. 2018].
Pages 6,7,11,12 Page 16 Page26
Anon, (2018). [image] Available at: http://collections.dartmouth.edu/published Anon, (2018). [image] Available at: https://image.shutterstock.com/z/ Anon, (2018). [image] Available at: http://upload.wikimedia.org/wikipedia/
-derivatives/ocm28211308/ large/ocm28211308-002.jpg [Accessed 4 Jan. 2018]. stock-photo-whiskey-with- ice-in-glass-from-top-on-white-background commons/a/af/Luger_IMG_6768.jpg [Accessed 4 Jan. 2018].
Pages 6,7,11,12 -157741187.jpg [Accessed 4 Jan. 2018]. Page 30
Anon, (2018). [image] Available at: http://davislibrary. les.wordpress.com/2016 Page 16 Anon, (2018). [image] Available at: http://www.mcanallyclan.com/documents/
/05/doc_0005f.jpg [Accessed 4 Jan. 2018]. Anon, (2018). [image] Available at: http://karriehiggins. les.wordpress.com US-Army-Honorable- Discharge-paper---Dan-P.jpg [Accessed 4 Jan. 2018].
Pages 6-9,11,17,18, 32-35 /2015/05/ may21stwhereabouts_privacy.jpg [Accessed 4 Jan. 2018]. Page 30
Pages 16,19 Anon, (2018). [image] Available at: http://i0.wp.com/mostlymuslim.com/wp-
content/uploads/2017/10/distress.jpg [Accessed 4 Jan. 2018].
Anon, (2018). [image] Available at: http://cdn.playbuzz.com/cdn/79f67c48-485b Anon, (2018). [image] Available at: http://tremost.com/wood-desk-top/ Page 31
-454a-a96e-5ec3b23a26ac/ c6ad22a1-5cfa-4723-8d3f-3e35 aece70.jpg pleasant-wood- desktop-table-tops-textures-picture/ Anon, (2018). [image] Available at: http://c1.static ickr.com/5/4136/4881880602_
[Accessed 4 Jan. 2018]. [Accessed 4 Jan. 2018]. d2df1f6041_o.jpg [Accessed 4 Jan. 2018].
Page 10 Pages 14-19, 35 Page 35
Anon, (2018). [image] Available at: http://lostandtaken.com/wp-content/ Anon, (2018). [image] Available at: http://survey.ci.stpaul.mn.us/
uploads/edd/2016/02/tan-antique-vintage- paper-texture-3.jpg book-indexes/ jbi-scans/jbi01p.43-44.jpg [Accessed 4 Jan. 2018].
[Accessed 4 Jan. 2018]. Page 19
Pages 23-30,32-34
GOFFMAN, E. (1990). The presentation of self in everyday life. London: Penguin Books.
Bibliography