STUDIO PROJECTS

CEASEFIRE

Animated Short by James KirkwoodBrought on as an animator for a few shots. Did rough animation and in-betweens. My rough animation was close enough to tiedowns so I skipped that step.Work done on ToonBoom Harmony.

I WON'T LET YOU DOWN, GRANDPA!

Animated Short by Charlotte Tan and Fayme WongA two person project for school, the film is a hybrid of 2D animation and 3D environments.Pre-production: I worked on storyboards, animatic and character concept development.
Production: I was the only 2D animator from start to finish.
Post-production: Compositing alongside my team mate. Animation and backgrounds rendered separately then layered in post.I used Blender (Grease Pencil) and Adobe After Effects for production, Google Spreadsheets for project management.

PANDE-NOIA

Animated Short2D animated studio project where I joined during production phase. Worked in multiple roles.I co-led the production team with one other team member. Kept track of schedule and everyone's tasks, organised meetings with supervisors, delegated tasks, hosted daily standups.
Animator across all stages for some shots (rough, in-betweens, clean up, colour).
Sole compositor and editor for the project.I used Adobe Photoshop and After Effects for production, Google Spreadsheets and Discord for project management.

N.E.MATION! 2021 - A MESSAGE TO SINGAPOREANS

Animated Short
Second runner up for N.E.mation! 20212D animated project. Worked in multiple roles, but mainly as the sole animator from start to finish.Short animated on Adobe After Effects. I received assets from my team then rigged and animated them.

Hello! I'm Charlotte Tan and I'm a 2D Animator and environment artist. I am currently enrolled in university working towards an Animation degree.I also dabble in 3D, working as a 3D artist and team lead for The Straits Times. We create interactive articles involving data visualisation and storytelling! View our body of work for 2024 here.When I'm not piled with work, I like to play Stardew Valley and Cookie Run Kingdom or consume 4 hour long video essays (Sometimes simultaneously)What I work with
ToonBoom Harmony - Animation, Compositing
Photoshop - Illustration, Concept art, Animation
Blender - General 3D work (Model, texture, lighting, rig, animation, render), 2D Animation
After Effects - Animation, Compositing

Animation Reel

Contributions for Studio 4: Specialist, on project 'Dragonkin' and 'Keys'.
Click to expand images.

Studio Contribution Summary
• Mainly took the role of Production Manager, while taking up various tasks in all departments where needed.Producer Work

• I organised for the team to meet every Monday after Eunice and I update our supervisor (Leila) on our progress. Usually around 11:30am in 5.31 since 5.29 is packed at that time. I go through everyone's progress and assign them new tasks. Assigned tasks were usually pre-planned by me earlier in the morning.
• No meeting notes were needed as most of them consisted of task delegation that I summarise each week.

• Devblogs were mostly managed by me, this round I decided to get everyone to do reflections instead of writing long blogs which worked out better.
• Also regularly updated the team about meetings and other information, the usual producer spiel.

Final Project Work and Technical Breakdown
Animation
Demonstration of rough, tiedown and inbetween process

sc18 - Roughs, Tiedowns, Inbetweens
- Involved a lot of guides because of the perspective and form of Reinhardt. Had to break down the passes individually to animate the character accurately

sc31 - Roughs, Tiedowns + Inbetweens (Combined steps)
- Shadows had to be hand animated for this particular scene, so I added them as part of the animation to clean up and colour

sc08 - Roughs + Tiedowns + Inbetweens (Combined steps), Clean up, Colours
- First try with clean up and colouring process. Broke up clean up layers separately for Lionheart as it makes for cleaner transitions in line art. (Also easier to adjust body parts if needed)

Environments/Backgrounds
Demonstration of background paintings - sketches, line art, renders.

bg06 from concept to final
- Initially a concept piece, was used for the final scene
- Needed to expand the background for bleed area. Separation of lineart shown in the overlaps of lines above.
- Surrounding environment was coloured and rendered first prior to the village to give better context of the lighting. Atmospheric depth and extra value editing came in the last pass.

Other completed background tasks
- Render for bg11, Line art for bg46 (Part 1 and 2)

Backgrounds for 'Keys'
- Volunteered to assist with a couple of backgrounds for 'Keys'
- Following the production's template, I broke down my rendering process to fit into the layers provided. Differed quite a bit from 'Dragonkin' 's process

Compositing
Showcase of compositing pipeline

Set up
- Had to set up a separate tracker for ease (Still updated flow consistently)
- Compositing tracker used to highlight different lighting settings, account for numbers, and specific factors that would take longer to set up in Flow
- Spreadsheet also included important notes to standardise all renders (colour spaces, formatting)

Composite (sc31)
- Part of these nodes were contributed by Eva (We set up a node template to use across scenes)
- Gradient, Directional Light, Integration Pass, and Chromatic Aberration are all standardised effects
- Extra effects involved gradients over the shadow area, glow in the eyes, and other colour grading effects to enhance the scene.
- Before and after composite shown above.