It looks cool! Don't know what to say 'bout that background tho..... I've never seen something like it before!

The microscale buildings are way too close to the subject building.

The only problem with the sky is that the lighting of the foreground doesn't match it - it's too bright and saturated.

It looks about the same to me. The only difference I can spot is that you moved the big tower is moved over a little, with the other microscale buildings gathered together in a sort-of huddle. But, other than that, the lighting looks exactly the same, the grey background looks exactly the same, and the building in the foreground looks exactly the same. True, it is somewhat of an improvement on the original, but then again, it looks too similar.

Just started on this film, I'll maybe post a few more pics later into production.

Last edited by GHB (February 23, 2014 (01:02pm))

Thanks! It does a bit, but I was going for a rocky/woodland environment. I guess I should work on my set building skills a bit.

Last edited by GHB (February 24, 2014 (05:23am))

I finished Chapter 1 of Leprechauns in France yesterday.  It's looking really great so far.
I was planning to finish Chapter 2 by now, but was delayed with sickness and power problems, I also decided to make some shots involve some more more complex effects where I was originally not planning to do so.

I still have two more chapters to go, both of which are relatively simple except for one shot in chapter 2.  I'm still planning to to to aim for my Saint Patrick's Day release date.

I wasn't really going for an over-the-shoulder shot, just more of a shot to show the figure speaking with the tiniest bit of the other figure showing.   Though I'm never really sure how to make regular dialogue shots look interesting.  Most of the shots in this film are generally the same switching from character to character as they talk, with a few extra shots for special stuff, much like Sharks and Clowns was (which was actually modeled off of this film).

Time for a really long and overly detailed response!

The time in which I animate stuff varies quite a lot.  If I really wanted to, I could probably rush this and get the whole animation portion done in a mere 24 hours.  Or course, I'm not too keen upon having this be rushed, so I've been aiming for about one chapter a week (and each chapter will probably be around about a minute each) I want to put love into every frame of this, and it's been a long time since I've felt so delightful about animating as I do as I make this film.
I'm not sure how much exactly it is that I can do in an hour, as different types of animation take more or less time.  Near the beginning of chapter one, I did an eight step walk cycle which took me almost two whole hours to animate, but walk cycles usually take me a particularly long time, so this is not unexpected.  The repetitive nature of the cycle is also very mentally taxing.
Dialogue shots are among the easiest shots to animate of all, which is good since this film is primarily composed of that.  In an hour, I can probably animate a few of them, sometimes perhaps three.  Though that is all quite dependent upon how long each shot is.  I think the average line in this film is around forty frames, some are as short as 12, some go off to 60, and I have a few that go off further than that, with my longest being around about 100 and something or maybe 200.  I forgot which.
In Odoriferous, I had a 200 frame shot for Rainbow Sparkle which luckily only took forty-five minutes.  Usually this would have taken much longer, but unicorns surprisingly easy and quick to animate, which was very good for me since his lines were so long, and otherwise would have been a nightmare in BRAWL.

Yesterday I had the entire day free but animated around about 200 frames, which it a respectable amount considering that which I animated involved some shots which were much more complex than my usual, and also very new to me and entirely experimental, but luckily I nailed it in my first try.  Plus I like to take breaks from animation to get a drink, go for a walk, look at Twitter, or something like that.
A few days ago I delayed production for about a day trying to get something to work for another very complex shot which involved me building this really weird thing which, out of context, looks like complete madness:

I wasn't even planning to make this thing until it popped into my head right before I was going to do the shot without it.  This it only my first design, though, I had to go make a fourth before I got one which worked well enough.
But I do assure you, this has an actual and very legitimate purpose in my film which will make sense even if you never actually get to see it.

No pots of gold.

But here's another little frame: