It’s one thing to animate a bouncing ball in perspective, and quite another to have to juggle all the moving parts of a biped humanoid-ish character walking thataways. It took everything I learned about creating a walk cycle - everyone only taught me how to do it from a side view - and rotated it 45 degrees to the right. Which scene was the most complex or artistically challenging? How did you approach it?Įllen: There are at least two scenes where a character walks away from the camera in perspective, which is challenging for me. Photo and sketchbook drawings provided by Tony Idarraga. These were a few doodles I made on a cheap Daiso sketchbook I bought in 2018. The photo below on the left is Slime and the photo on the right are some of the drawings I made before the film was conceived. One day I drew him in a suit on a school whiteboard out of a whim and then it sparked the idea for the film! Tony: I am! I own two dogs currently but at the time of making the film, I had a cat named Slime, who was the inspiration for the film. Are you pet owners? What were some of the other sources of inspiration for your film? Tony also handled the video editing, color keys, and backgrounds, while I was in charge of sound design and character design - except for the human character, which was Tony’s. Tony did all the storyboarding and laying out the keys in the boards, which I cleaned up in production while directing the rest of the animation. We split directing jobs between the two of us.
It just worked out really well that whatever one person wasn’t terrific at, the other was. What was the production process like on Nyan to Five?Įllen: We mostly divvyed up tasks based on our respective strengths.
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