Anoxia is a 3 minute short film directed by Lily Lord and Lowri Jones, produced by Michaela Kotsovos. It follows the story of a mother and daughter diving for the wreck of their old houseboat, and explores their stormy relationship.
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Anoxia is one of the films I worked on in my final year of university. I joined this film in pre-production, intially as a script consultant as Lily was searching for help with making the dialogue feel natural. From there I have gone on to become the film's in-progress editor, as well as a storyboard artist and animator.
Concept art by Lily Lord.
I first joined the Anoxia team under a temporary role of script consultant, as Lily was in search of help with the story and dialogue in the film. This was a role I was very interested in taking up on a third year film, as I have extensive creative writing experience outside of university.
Throughout pre-production I worked together with both directors to develop the script, beginning by adding notes on Lily’s work, then later reorganising events and writing sections from scratch, with notes from the directors. This collaborative approach to writing made it easier to patch weaker areas of the script through joint work, but also resulted in some confusion and redundancy, when some parts where added or removed from the story without everyone knowing. To help counter these issues, we used Google Docs’ built-in edit history feature to keep track of each other’s work on the script, as well as saving a new file when major changes were made.
My role with the script eventually developed into a general story consultant, as I was often involved within discussions between the directors and producer regarding the progress of the film, becoming a de facto member of the core crew.
While I am not often a storyboard artist, I boarded the original version of Anoxia's final scene, as well as producing a few alternate boards for the first scene.
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I found boarding for Anoxia fairly easy, as my roles in both the script and edit meant I had a fairly solid understanding of the story, and how it would be told.
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Anoxia has since gone through several large shifts in story progression, so most of my boards are no longer in use for the final production process. I am still happy with my work and the way it helped to develop the film.
Due to my past experience with sound and dialogue recording from working on Worked to Death, I was asked to help the directors and producer with the voice acting auditions and recording.
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We used the specialist voice booth available in the Falmouth university SoFT building, allowing us to record in a soundproof environment while still being able to communicate easily with our actors.
During pre-production I was asked to perform some of the very first tests using EbSynth for Anoxia, establishing if and how the software could help to speed up the film’s production process by rotoscoping a painted effect over 3D water simulations. Although I am not a confident digital painter, nor background artist, I did my best to produce a passable painting over a frame of the water simulation I was given, as the aim of the tests was mainly to assess the effectiveness of the software for later use with properly rendered backgrounds, both 2D and 3D.
3D render by Noah Teo.
Currently I am working as a key artist and inbetweener for Anoxia, focusing on character animaton. While Anoxia got a large amount of my attention during pre-production, so far I have had little time to animate for the film and as of yet I have only keyed two shots and inbetweened one other. Over the summer I intend to continue animating for Anoxia and see the film through to its final stages.
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Due to the sudden change in production process brought on by COVID-19, Anoxia is currently working to a reduced schedule, focusing on creating a trailer for the film by the end of May, and then continuing with the rest of the film some time after.
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Anoxia is currently on pause, due to team members needing to focus on paid work.