Revelations and twists abound in this pinnacle episode in Trixi and Khal's adventure.
Trixi arrives in Westlake to find it in ruin. But was it the Giants or the army itself that caused such destruction? And how long can Trixi and Khal rest before the nefarious Mr. Tinker catches up with them?
It all begins with the writer and the script. In this installment we take a look at what kind of development went into writing Minushi. From the importance of screenplay formatting to developing themes to guide your writing as well as some random thoughts and trivia about Minushi.
Trixi and Khal get a moment to rest and recover from their recent ordeal in Ezra's secret desert hide-away where they learn about the notorious Giants and more.
If you're animating a feature length film all by yourself you need all the short-cuts you can find. See Tyler's process from drawing table to Flash animation software and learn how to keep things interesting for yourself and your audience with tips and techniques. And as always, see some previously unreleased footage from Minushi!
The battle may be over but there's still one more enemy to face and one more secret to be revealed.
The final step in producing Minushi was writing the score. And the trick to writing the score was to judge when it needed to be noticed and when it needed to fade into the scenery. Using an ensemble of digital tools and organic instruments great care was taken to craft Minushi's musical themes and to write music that would suit each character.
Story can't exist without a cast of characters. In this installment we look at turning two dimensional drawings into three dimensional characters. Everything from early sketches of Minushi's primary cast through to recording voice actors in a homemade recording booth. Also a look a archetypes as well as finding a character's own voice through collaboration.
Making a feature film takes planning. See the very first sketches of Minushi that later became the blueprints to its storyboard. Also in this installment we take a look at choosing an aspect ratio for the movie as well as where the approximately 3,000 drawings that went into the film were illustrated by hand.
After foiling a military ambush attempt on a convoy of Giants, Trixi and Khal find themselves captured by none other than General Werner, the man responsible for drafting Griffin, Trixi's estranged brother.
On the edge of an epic battle between General Werner's army and the Giants what happens next is anybody's guess as relationships unspool and loyalty comes into question as crisis rises across the wasteland.
Separated for the first time since their adventure began, Trixi and Khal are thrust into the emotional truths of their respective journeys.
So close to her objective of finding her estranged older brother, Trixi leads a reluctant Khal into an army base through a secret entrance where one wrong step could trigger the alarm.
The role of a production designer is to create the world in which a film's characters inhabit. This can range from creating a single set design to imagining the ins and outs of an entire world. In the animated world of Minushi production design was integral and demanding. In this installment check out the nuances of designing everything from wardrobe to the giant robots of Minushi.
The unknown lies before them as Trixi and Khal set off on the next leg of their journey across a battle scorched wasteland.
Trixi and Khal hitch a ride toward Westlake only to be faced with a new menace; a pack of merciless bandits trying to hijack them in a high speed pursuit.
Trixi and Griffin wake up in a whole new mess of trouble and are joined up with a familiar face.
A strange encounter in the desert leads Trixi and Khal into a new world of trouble when they accidently deliver themselves to a awaiting enemy.
Running low on options, Trixi and Khal make a dash for the nearest town in search of answers and refuge but cornered between Mr. Tinker's robot goons and a battalion of soldiers their situation is more desperate than ever!
Rich and clear sound can carry how the audience sees a movie a long way. Most of Minushi's sound effects were homemade recordings from unlikely sources. In this installment Tyler tells you about how he went about modifying the sound of pebbles to create the sound of boulders as well as mixing sounds together to create new ones.
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