Case 10 of 18 · The Found Odyssey
Found Odyssey drawn tests and style lab
How should a drawn figure meet found footage?
Three drawn test shots (NOBODY, THE SIRENS, ARGOS), a style lab showing six ways of meeting the footage, and a second pass in a seventh style.
How it was made
- Take the Found Odyssey CALL tracks as the soundtrack. Words and order unchanged; only the cuts and pauses are chosen.
- Key the bodies in the rig and draw them with the ink renderer.
- Hold the bodies, sound and animation fixed and change only the style: clean ink, matched, scratched, cut-out, black-figure, inked footage.
What this case teaches
- Changing one variable at a time is how a style is chosen: six styles, same motion.
- An animation layer computed from the motion (squash, breath, follow-through, dust) adds life without changing a single key.
- The footage reacts too: the eye ripples, sand dust takes the beach's colour. Both layers have to touch.
How it differs. CINEOSIS put a fixed character into footage. Here the drawing style itself is the experiment.
First sheet and last sheet
Where the stage started and where it finished.
The sheets, step by step
Grouped by working session. Click any sheet to view it full size; use the arrow keys to move through them.
Step 1Contact sheet and Plate studyOct 18 14:19–14:39 · 14 sheets
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Step 2Reel checkOct 18 14:39 · 2 sheets
Step 3Style reference test and Style labOct 18 15:29–15:50 · 14 sheets
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Step 4Second pass and Contact sheetOct 18 15:50–15:53 · 9 sheets
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What came out of it
Drawn tests · NOBODY, THE SIRENS, ARGOSThe first three drawn shots: figures in archive plates, Homer asked by the CALL track and answered by archive speech.
Style labSix ways for the drawing to meet the footage, from clean ink to matched film stock, played over the same two beats.
Drawn tests · second passThe chosen style applied to the three test shots.Read the record
Carried forward
The seventh style becomes the look of Episode 1.