Monday, 12 December 2016

Narrative - Layout Artist Camera Placement

Thomas and I have refined the renders from the previous examples included on my blog and fixed the lighting areas and gamma settings. these renders are taken from the camera I set up from the storyboards and screenplays ive produced. 

Front Camera Attachment

Closer Front Camera Attachment

Front Windscreen Camera Attachment
Left Wheel Camera Attachment

Left Wing Mirror Attachment

Front Right Headlight Camera Attachment 

Rear Car View Camera Attatchment

Rear View Mirror Camera Attatchment
I gave Thomas the idea of creating a lighting composition that would mirror the illusion of street lights passing overhead into the car. 

Lighting Test Gif

Car Still Render

Narrative - Final Film Script to Final Storyboards

New Storyboards - Narrative

Wednesday, 23 November 2016

Narrative - Fugitive Car Camera Placements & Lighting

Yesterday Thomas and I were trying to achieve the lighting we need to create the sense of the car streamlining through the night. It looked alot brighter through renders in Maya, uploading them online seems to have dulled the images quality slightly. strange, Anyway there is still work to be done and the cone lights we applied to the headlights have seemed to have fallen away.

We also had the idea of adding streetlights overhead of the car that would intermittently light the interior with each passing. To better symbolize the fact this car is travelling through space.

Wednesday, 16 November 2016

Narrative - Fugitive Animatic V#1

This is the altered animatic with sound.

The music for the video is copyright free and is called:
'Sad Urban Noir Background Instrumental | Royalty Free Music'

Monday, 14 November 2016

Opposing Characters - Batman vs Superman (2016) Review

Figure 1 - Batman vs Superman Theatrical Poster
Captioned the greatest superhero match up of our generation, Batman Vs Superman Dawn of Justice (2016) is a film that brings both characters to a single film as they bout for the victor. The audience has a subtle hint to the outcome through graphic novels and story arcs from the past of the DC universe that Warner Brothers brought to life onscreen. The society in this film believe there should be no Superman because of his alien like actions and Batman is the one who agrees and will also take Superman down. While Superman fears that Batman's actions are wreckless and fearing others. Meanwhile behind the scenes of this conflict, Lex Luthor is plotting something that will destroy mankind. This is what ultimately would pull the two unlikely allies together to face a common foe and save humanity. "Snyder has brought a different edge to the superhero genre, one that questions what drives these men of steel and creatures of the night to do what they do and believe what they believe. There is something to admire in that." (Pejkovic,M)
In this review I will be focusing on the opposition to these main characters. What really drives a wedge between their own personal outlooks of the world they both reside in and if any similarities may rise to highlight them. This will be done by reiterating the use of binary oppositions and applying that concept into film.
 Figure 2 - Batman
Batman is the assumed persona of Bruce Wayne (Ben Affleck), an orphaned Billionaire and heir to Wanye industries and a massive fortune. Left without parents from the actions one fateful night, he was forever scarred by the incident and never found resolution. Born and raised in Gotham City, he was taught to care for the people of this degrading city and the Waynes were a part of that society that sought to fix what was broken. So for Bruce to lose his family to what they attempted to amend was unacceptable and he grew dark and disconnected. His fear was Bats and for him to don that as a symbol was a mastery of fear and he wanted to impose that print on those whose wrongdoings affected the innocents. His journey throughout the film is a development of his views toward alien visitors and their dominance to what man can achieve. From not being to trust Superman is here to save humanity, to coming to common ground with an individual that is, like him driven to save others. A scene that captures this change is when Batman is about to take out Superman with a Kryptonite spear. "Why did you say that name? Martha? Why did you say that name? WHY DID YOU SAY THAT NAME?" (Batman), at this pinnacle point Batman then begins to realize that Superman has undergone a similar origin to him where their families sought to protect and were wronged, that they would do anything to accomplish the task of saving others from that fate.
Figure 3 - Superman
Superman is the mantle that Kal-El (Henry Cavill) son of krypton possesses. Sent to earth in a pod while the rest of his race is torn apart from its own planets mass, he is an orphan to not just a family but to an entire race. Raised by Martha and Jonathon Kent on a farm in Kansas, Kal-El is given the name Clark Kent and is shielded from everyone and his abilities kept secret, in fear of what people would think. He then leaves the farm after the passing of his father and goes on a journey of discovery to learn the roots to his origin.
In this film which is a direct continuation of that journey, Now known to the world as Superman 'A beacon of hope' he now has the attention of the planet on his shoulders and is asked the question why does a man dressed in a Batsuit go unopposed while there is a man capable of godlike feats around? Superman's journey throughout the film is not being able to accept that a man who is clearly conflicted mentally should govern crime to his choosing unchallenged. There is a scene that perfectly shows his acceptance to the concept though, and that at this particular point of the film Superman no longer cares about his conflict with the Batman, but instead to save his human mother, Martha.

Figure 4 - Superman & Lex Luthor
Pictured above (Figure 4) is the confrontation between Superman and Lex Luthor, Lex learns of the truth behind the man of steel and has unmasked him. Taken his mother from him as a hostage and has pitted Superman to travel to Gotham where the Batman is waiting for a bout to the death. Superman for a moment is unhinged and is about to incinerate Lex which is a move that would stun and shock audiences of the cult fiction. Its a move that Superman would never do. Its this sense of desperation and outrage that gives Superman an incite to how Batman operates, Batman is a seasoned Anti-hero who has policed a city long enough to realize that cleansing is better than rehabilitating. 
 Bilbography List

Batman (2016) Batman Vs Superman. Accessed at on 14.11.16
Illustration List

Narrative Structure - Star Trek Into Darkness (2013) Review

Figure 1 - Star Trek Into Darkness Theatrical Poster

Directed by J.J.Abrams and the sequel to the 2009 revitalisation of the iconic series. 'Star Trek Into Darkness' (Figure 1) is the introduction to one of most proclaimed villains in the franchise and Abrams next step to boldly reimagining the series. After the crew of the Enterprise find an unstoppable force of terror from within their own organization, Captain Kirk played by 'Chris Pine' leads a manhunt to a war-zone world to capture a one-man weapon of mass destruction.

In this review we will be focusing upon the Narrative Structure of the film and whether the film fits with the three act structure I feel it can be dissected into. Following Gustav Freytag's Pyramid of Structure.
Figure 2 - Freytag's Pyramid
Before beginning our investigation into Narrative Structure within this film selection, it would be applicable to mention the Freytag theorem. Pictured above (Figure 2) is a demonstration of Gustav Freytag's theory behind structure. Behind every story there is an inciting incident and need for some sort of action, follows through the same lines as a prologue. It expresses the need toward a resolution of the situation. This introduces the concept of the three act structure within film, the Exposition, the Climax and the Denouement. There are of course rising and falling actions in there aswell to consider but we will now apply this knowledge to our review.
Figure 3 - Captain Kirk
Act 1
We are introduced to Captain Kirk and the crew of the Enterprise as they are attempting a planetary wide rescue by interrupting an active volcanoes wrath and violating the Prime Directive. "Do you know what a pain you are? You think the rules don't apply to you. There's greatness in you, but there's not an ounce of humility. You think that you can't make mistakes, but there's going to come a moment when you realize you're wrong about that, and you're going to get yourself and everyone under your command killed."(Pike, C) Kirk is soon after grounded and de-ranked as the results of his efforts to save the planet and his First Officer. Kirk feels the need to express his maturity to Starfleet by once again going under the Wing of his superior Admiral Christopher Pike. This is included to show the audience that whatever is going to take place following the actions of the prologue will be a redemption of not the crew of the Enterprise entirely, but by Captain Kirk himself and his actions critiqued by his subjects. His legacy.

 Figure 4 - Khan Noonien Singh
It is also in the First Act we are introduced to Khan Noonien Singh.(Figure 4) The main anti-protagonist of the film. Someone who is represented to be manipulative and a devious man, someone crafted to be the man that Captain Kirk must overcome to have resolution in not just the story but for himself. Khan Noonien Singh kills leaders of Starfleet and is a wanted fugitive for his actions under the false pretence of 'John Harrison'. This is what drives the act and brings Captain Kirk to the first step of his redemption. Piloting the Enterprise to pursue and capture the fugitive and bring him to swift justice. "That being said, Khan Noonien Singh is the most dangerous adversary the Enterprise ever faced. He is brilliant, ruthless and he will not hesitate to kill every single one of you." (Spock,A). With the audience armed with this narrative the structure continues into Act 2.
Act 2

Captain Kirk is emotionally compromised by the events that took place when Khan decimated Starfleet command and seeks to bring him to justice for the heinous crime that has been committed. But he is ordered by Admiral Marcus (Figure 5) to deploy torpedoes onto his position in orbit. An action that would probably end in the beginning of a new war between Starfleet and the Klingons. Instead of listening to his orders. Kirk chooses to capture the fugitive and bring him aboard for questioning. Disobeying a direct order from a superior in the process.

Figure 5 - Admiral Marcus
Captain Kirk learns from Khan Noonien Singh that everything to that point had been orchestrated to escalate the tension between two societies that would end in all out war. The Enterprise sabotaged and stranded on the edge of Klingon Space armed with to the brim with warheads. This is also the point where the film meets its unexpected climax in being that Khan is no longer the main threat, but it is now the chain of command that kirk himself follows. "The Midpoint, that link in the chain of dramatic action that connects the first half of Act II with the second half of Act II, is what moves the action forward and creates a new dramatic subtext.” (Field,S). This quote strengthens that the actions displayed in this Act is crucial to come to a climax that fuels the audiences need for resolution in the piece. Using the subject matter as an example, the conflict now resides between Kirk and Marcus who both have different views on what is best for those who follow beneath them. An iconic Kings of the chessboard approach.
Act 3
Captain Kirk's Journey through the film is displayed as showing trust in others and letting them take the risks he himself should have undertaken. In a classic reenactment of the franchise's lore, Captain Kirk re-aligns the warp field that would have traditionally have been a job for Spock to accomplish, sacrificing himself for the crew.

Figure 6 - Captain Kirk's Death
In his death (Figure 6), Kirk pushes the story into the Final Act. How his legacy will affect those beneath his chain of command. Spock is filled with rage and chases after Khan after all if it wasn't for his actions that led to the death of his friend, Spock wouldn't feel helpless and lost from his emotionless persona of Vulcan heritage. Initially Spock doesn't try to apprehend Khan but instead kill the man responsible for his pain, it isn't until after the Doctor of the Enterprise realizes that Khan is the answer to reviving the Captain. It is this resolution that compels the audience to shout "Don't do it!" as Spock throttles Khan by the neck as we know that Khan's blood is what can save the Captain.
Ultimately the resolution is the trust in the Captain being re-rooted in the crew of the Enterprise and the Captain to be aware of the constant scrutinizing that is done by those beneath his command and how he is looked up to. The films journey from turning Kirk from rebellious and unhinged, to coordinated with his crew and resolved in the knowledge that he joined Starfleet to help others than to fuel his own ego.
Bibliography List

Pike, C (2013) Star Trek Into Darkness at Accessed on 14.11.16

Spock, A (2013) Star Trek Into Darkness at Accessed on 14.11.16
Field, S (1994) Four Screenplays, Bantam Doubleday Dell Publishing Group 

Illustration List


Thursday, 13 October 2016

Maya - In Class Animation - Initial Poses Playblast

A quick playblast of the poses I have constructed in Maya. They have been made linear and the spacing of frames is a bit vast. I will be looking to clean up in certain places and give weight to certain frames. 

Sunday, 9 October 2016

Narrative - Man Vs Machine - My Written Screenplay

Okay so this is my initial attempt of writing a ScreenPlay for our Animation. Im trying to incorporate the sounds and lighting we wish to achieve into the writing and I hope to give the impression the Man the Animation is comfortable to increasingly paranoid.

Any criticism is appreciated and I do apologise if its presented in the incorrect format, it is my first time doing this sort of writing. 

-- Rhys

Screenplay written by Rhys Wadmore
Version # 01

Sound Fade In:

Ext. Quiet Street - Night

Through the ambient sounds of a SLEEPING CITY, we hear feet shuffling coming closer and closer toward us. A smashing of GLASS, car door OPENS and Brushing sounds just before it SLAMS abruptly, fidgeting as someone attempts to spark two wires. Sound of an ENGINE stirring with excitement and a STEADY ACCELERATION.

Fade In:

Ext. Bumper Shot Pan

The Lights of a vehicle are shone out into the camera and the front bumper and grill of a car is seen, the car is travelling at an average speed and the sound of the engine is PURRS along with the camera as it pans up to the BONNET.

Int. Car -Low Angle Shot

An obscured man is seen behind the wheel of an attractive automobile, driving, watching the road ahead while exploring the confines of the interior space with his other hand. He searches his upper jacket pocket and reveals a SMALL BOX.

Int. Car - Rear View Mirror Shot

The SMALL BOX is bought closer to the man's mouth, opened with his free hand and a single CIGARETTE is taken out and placed into his mouth. The man leans forward and a short CLICK is heard.

Int. Car - Inside Glove Box

The GLOVE BOX is opened by the man and he reaches for a handful of random cassette tapes and retracts his arm and places the tapes onto the SEAT beside him and closes the GLOVE BOX.

Int. Car - Low Angle Shot

The man multi-tasks driving and looking down onto the SEAT beside him browsing through the tapes with one hand, the name of the tape he chooses is seen briefly on the back--

Tape is inserted and a WHIRRING sound is made.

Int. Car - Rear View Mirror Shot

The man leans forward slightly as a CLICKING sound is made as a spark ignites beneath his lips and the CIGARETTE is lit, a deep INHALE ---

and EXHALE as the music from the Cassette plays quitely builds.

Ext. Car - Driver Side Rig Cam Shot

The man extends his left hand outside the window resting on the side of the car as the sound of the music fills the air and smoke puffs out the side. The sound of a PASSING cars and light appear to the sides of the car.

Dissolves Out with the PASSING LIGHT:

Ext. Car - Driver Side - Front Wheel Rig Shot

Lights a reflected by the BODYWORK of the car, (Insert Saul Bass Colour Palette). The Sound of the wheel ROLLING against the Tarmac as the car begins to come to a crawl.

Ext. Traffic lights - Shot down

A CHAIN of lights are shone down onto the bonnet and windscreen of the car as it screeches to a steady halt, Other vehicles are in view but are dull silhouettes compared to our car of focus. Except one car that is a few cars behind.

Int. Car - Dashboard Cam

The Man leans forward to get a closer view out the front windscreen and into focus comes the words SOUTH BEACH and UPPER EST written backwards as part of a reflection. The man looks left and right making a decision and before the Traffic lights change a REPEATED CLICK is heard.

Ext. Street Sign - High Angle Shot

A CIGARETTE is flicked past the words SOUTH BEACH, Camera focuses and as the acceleration of the car builds to speed, we refocus onto the car journeying towards a NEON LIT landscape. The SOUNDS of the car begin to die down the further away it travels. Another Car follows slowly in the same direction.

Int. Car - Low Angle

Man reopens SMALL BOX to see its there is one CIGARETTE left, places it inside his mouth deep sigh as he throws the empty box toward the SEAT next to the camera. A slight CHINK is heard, Man ignites new CIGARETTE--

Focuses in on CIGARETTE light

Man inhales and exhales smoke once more--

Ext. South Beach Sidewalk - High Angle - Static Shot

New music pours into the scene from the establishments littering the area --
The car pulls over slowly in front of brilliant NEON lights, stops centre frame and the man applies the HANDBRAKE. Man sticks out his head slightly to observe the area. The sound of a second car

Int. Car - Rear View Mirror Shot

The man readies himself to disembark the vehicle, turns OFF the ENGINE the focus of the camera zooming slowly through the back window of the car showing the audience the second car thats pulled up a little way behind the car.

Ext. Car - Wing Mirror Shot

The man opens his door slowly and takes his time getting out, the door of the car that follows the man also opens in sync. The door the camera is on pauses to open fully, so does the door of the car that follows. SOUNDS INTENSIFY

Int. Car - Rear View Mirror Zoomed Shot

The camera fully centred throw the back window of the car the man SLAMS the door and shifts back into the seat, staring into the rear view mirror. Lights fill the side of the shot focusing in on the two men sitting in the car waiting-- SOUNDS AND LIGHT INTENSIFY

Man looks back slowly, then sharply forward

Int. Car - Low Angle

The man still staring at the Rear View Mirror struggles to reach the seatbelt over his right shoulder, and slowly CLICKS into position. The man places the key into the ignition slowly--

Distorted sound floods the scene and becomes uncomfortable

Ext. Car - Back of car panning down

The man turns the key in the ignition and the engine ROARS into life, Lights turn back ON, the car SCREECHES its tyres and kicks up smoke, Handbrake DISENGAGES, car shunts backwards because of TORQUE and the car speeds off through the smoke it creates.

Int. Numerous Abstract Shots.

-- Cameras detail the inside of the car while the man is speeding away, Focuses on the GEAR STICK when he's shifting up, in key with the ACCELERATOR and CLUTCH. SPEEDOMETER increases and so does the aggression of the vehicle. Wheels screeching as he sharply turns left and right, Objects shift to show the direction of gravity.

Ext. Slow Zoom From Front Bumper To Mans Face

The camera pans up from the Bumper to show the audience this build up of smoke the car has kicked up, the distorted and unclear lights, the sounds of passing vehicles and the progression of sound the car is making. --
Camera reaches mans face and continues to zoom in

Ext. Parallel Follow Camera Shot

Audience is shown the car leaving the clouds of confusion that had been left in its wake. Sounds are left behind the car as the car speeds away from the distortion.

Int. Over The Shoulder Shot

Focuses over the mans shoulder to the -- THANK YOU FOR VISITING -- sign shown on the RIGHT hand side of the road, the man follows sign passing him and looks through the back window, as a red light is shown ahead of the man and fastly approaches.

Fade to Black --

Sounds of the man applying the BRAKES to the vehicle and spinning out of control, GRUNTS, Sounds of CLANGING bodywork and SMASHING glass. Car hurtles out of control and sound goes quiet

Fade in --

Ext. Slow Zoom From Side Of Car

The camera slowly zooms through the kicked up dust and smoke the car has created due to a horrific collision, A Single BRIGHT LIGHT shines through the smoke. A rim rolls toward the camera and spins as it comes to a halt. The car is overturned and the man is left mangled in the crash, lying to the ceiling of the car--
Camera enters car

Sound of FLAMES igniting and a distant sound of sirens glowing ever closer in the air, a very faint red and blue light gradually builds in the smashed window.

Cut To Black.

Thursday, 6 October 2016

Narrative - Archetypes - The Hobbit An Unexpected Journey

Fig 1 - Theatrical Release Poster Segment

The first of a trilogy of films that follow the adventures of Bilbo Baggins, The Hobbit - An Unexpected Journey 2012, (Fig1) directed by Peter Jackson is a adaptation of the novel written by the legendary J.R.R.Tolkien.  It is followed by The Desolation of Smaug (2013) and The Battle of the Five Armies (2014), and together they act as a prequel to Jackson's The Lord of the Rings film trilogy

The story is set in Middle-earth sixty years before the events of The Lord of the Rings, tells the tale of Bilbo Baggins (Martin Freeman), who is convinced by the wizard Gandalf (Ian McKellen) to accompany thirteen Dwarves, led by Thorin Oakenshield (Richard Armitage), on a quest to reclaim the Lonely Mountain from the dragon Smaug. Along the journey the group are continually tested by the surrounding environments and its denizens. 
Fig 2 - Carl Yung Profile

This Film can be categorised by implementing Joseph Campbell's theorem of 'The Hero's Journey', also the production is rich with archetypes that help strengthen the overall resolve and structure to the story. 'Archetypes' was introduced as a concept by Carl Yung (Fig2), who saw there was a sort of structuralist approach to telling a selection of stories onscreen. 

Fig 3 - Bilbo Baggins

The Hero of this journey can be multiple members of the adventurers, but we shall choose Bilbo Baggins (Fig3) as the sole hero of this production. Bilbo is quite reluctant about being recruited to become a part of something he deems is a foolish quest. Usually in stories it is the hero that is taken through numerous trials in a plot and this is what Bilbo undergoes, he overcomes his fears becomes courageous and saves his companions.

In contrast to the Hero we have our shadow who would attempt to distill the team and undo their actions. For this example it would be best to refer to the white pale orc that has been commissioned to capture the dwarves and stop them from reaching Erebor. 'Azog The Defiler' is his name, throughout the story he shadows the groups movements and attempts to cut them off from their objective numerous times. Even tests the Hero and his companions along the journey.

Fig 4 - Gandalf & Radagast

The Herald of the quest would indeed be the wizarding duo of Gandalf and Radagast (Fig4), the events leading up to the prologue of dining in Bilbos house in the shire, Gandalf and Radagast have sensed evil is awakening in Middle-Earth and they have come to the conclusion with the dwarves that too long has Smaug lingered close to the realm of Mordor. The herald puts haste to the task and is almost a boon to committing to the journey.

The threshold guardian in this story is a little varied, it comes in the form of forced aid from the Elves of Rivendale. They wish for the dwarves to leave the mountain as it be and not stir the beast within. The group only manage to leave the city when Gandalf distracts the council from their departure. Another example would be the Goblins that abduct the company before they are able to meet up with Gandalf, the Goblin King is about to slaughter them and send Thorins head to Azog when the company are saved by the Herald.

Deception and deformity fuel the next example of the trickster, beneath the Goblin mines near an underwater lake  is where the hero meets Gollum for the first time. The hero is tested with riddles and deceit, a challenge is presented and visually the scene is created as a pinch of humour to the audience.

Fig 5 - Thorin Oakenshield

For flexibility and diversity for archetypes in this production we can defer from using the Herald as the mentor also and instead use the secondary Hero as this role instead. Thorin Oakenshield (Fig5) is the leader of the company of dwarves who are travelling to the mountain of Erebor, alongside Bilbo he is another Hero but with a significant difference. Thorin is a brave and strong warrior who sees Bilbo as weak and someone who should return home, he does this not because he dislikes Bilbo, but for a push in the right direction as for him to 'Get with the task or go home'. He and his company teach Bilbo in the art of swordplay and throughout the film guide him.

Allies put quite simply are the commission of dwarves in the production, in all there are 12 of them and also the Elves and Wizards. They aid in the Hero's quest and strengthen their odds against the impending danger the shadow presents. 

Fig 6 - Galadriel & Elrond

The Mother of the piece would have to be Lady Galadriel (Fig6), she not only guides the heroes of the production but has a major role to play in balancing the peace in Middle-Earth. She helps the Heralds come to decisions, and later in the series aids even further by becoming the 'Rescue from without' role from Joseph Campbell's theory. The Father follows quite closely to the example of Galadriel and that is Elrond (Fig6), together they both depend on one another guidance and aid to influence the decisions of the Hero and the journey they undertake. As a milestone the Elven city of Rivendale is the marker where they can get a map to Arbor's secret passage deciphered and seek aid from the Elves as rescue from the shadow that Azog poses.

Strangely the child and the hero are the same in this production, Bilbo was someone from a very peaceful and laid back environment who is torn from his world and introduced to many new experiences. We could argue that the allies and all other characters have explored the areas beyond their realms, something Bilbo hasn't accomplished.


Fig 1-Theatrical Release Poster-
Accessed on 6/10/16

Fig 2 -Carl Yung Profile-
Accessed on 6/10/16

Fig 3 -Bilbo Baggins-
Accessed on 6/10/16

Fig 4 -Gandalf & Radagast-
Accessed on 6/10/16

Fig 5 -Thorin Oakenshield-
Accessed on 6/10/16

Fig 6 -Galadriel & Elrond-
Accessed on 6/10/16

Wednesday, 5 October 2016

Narrative - The Hero's Journey - Man Of Steel

Man of Steel is a 2013 superhero film featuring the DC Comics character SupermanDirected by Zack Snyderand written by David S. Goyer, the film stars Henry CavillAmy AdamsMichael ShannonKevin CostnerDiane LaneLaurence FishburneAntje TraueAyelet ZurerChristopher Meloni, and Russell CroweMan of Steel is a reboot of the Superman film series that retells the character's origin story. In the film, Clark Kent learns that he is a superpowered alien from the planet Krypton and assumes the role of mankind's protector as Superman, but finds himself having to prevent General Zod from destroying humanity.

The purpose of this investigation is to decipher key elements that run throughout the film, we will be looking through the lens that is known as 'The Hero's Journey', a concept that was developed by Joseph Campbell. A structure that is to be believed to run at the core of most modern age films, and heavily influence story decisions the screen writer may have included in the script.

Also please note that the films structure is non-linear to this particular criteria, but the investigation will be running in the order of the diagram supplied beneath this text. 

The Call to Adventure would be when Jor-El sends Kal-El to earth with the codex in the hopes of preserving the Kryptonian genome. This is the initial bump that sends the story along, if baby Kal-El never was sent from the protection of his parents into the void of space then there wouldn't be a adventure for us to observe.

The Refusal of the Call would be Clarks inability to fit into society, he recognises he is very different to the people around him. This takes place throughout a portion of the film but runs from his early childhood until the point he is standing within the ancient kryptonian craft.

The Supernatural Aid would be when the key for Kal-El's pod that unlocks a projection of his father's consciousness. Until this point Kal-El has struggled making moral decisions and relied solely on the support of his human parents. It is only when presented with his true heritage and the ascended status it brings that we recognise the vessel in-front of him is wise and here to guide him.

Crossing The Threshold would also be when Kal-El meets his father Jor-El, and steps outside the ship knowing his true self. Until this point he was uncertain of where he came from and what he is here to accomplish. The experimentation of flight for the first time is the films way of showing that Superman is beginning to embrace his true self for the first time.

The Belly of the Whale is also when Clark exhibits powers and needs to control them and hide them from the world around him. This can be shown at multiple parts of the film where there is tension created by his presence and how humans can't seem to comprehend that a being like Superman can exist.

The Road of Trials can be when Superman steps willingly onto the kryptonian ship and is later probed of information regarding the codex. He is conjoined with the mind of Zod for a brief period of time and is tempted with the idea of rejoining the crusade that Zod has chosen to undertake in light of Kryptons destruction.

Meeting the Goddess is when we meet Lois Lane,  she advises Clark on who he should become. Her guidance also falls into teachings already given to Clark by his human father Jonathan Kent. Superman will willingly do anything to protect the Goddess from any impending dangers.

Woman as Temptress again would be meeting Lois Lane, she helps Kal-El ground himself to humanity. You could also say his Earth mother is also a temptress, because he looks up to both of them and seeks to protect them.

Atonement with Father is the meeting Jor-El's projection and learning of his inheritance. And also you can consider Jonathan Kent telling Clark he isn't of this world as a revelation given to atone for keeping Clark in the dark about his true self.

Apotheosis (God Like Status): The onlookers to the fight between Superman and Zod over the streets of Metropolis. They cannot participate in the fight because they aren't even close to the same level as the Krytonians. 

The Ultimate Boon is the 'Saving of Humanity'

The Refusal Of Return is Zod wanting the Codex to revive the Kryptonians, and Superman refuses the return to the Kryptonians way of thinking. The return being here that Superman has the chance to relinquish the Codex and further the Kryptonian line. Saving his race, something that his father Jor-El entrusted him with.

The Magic Flight is when Superman makes the decision to stand against the Kryptonians and to protect humanity from annihilation. He flies from Zod's flag ship and zooms off to save Lois.

Rescue from Without is Just before Perry White and Co. are crushed by gravitational forces, Superman destroys the anchor to the world engine in the Indian sea. It can also be the point where Lois's escape pod is breaking apart on re-entry into earths atmosphere.

Crossing the Return Threshold, is when Zod is the last threat and Superman must defeat and later dispatch his foe, he needs to do this for the world to become peaceful from the alien threat that Zod poses. Its his last task to do as Superman at this point, One last trial.

Master of Two Worlds when Clark becomes a reporter at the Daily Planet, able to stay undercover while still helping the world as Superman. Revisits his fathers grave (Jonathan Kent).

Freedom To Live is Superman taking down a surveillance drone that was trying to follow him, and explains to the government that he deserves privacy like everyone else. 

Maya- Pipeline 3 - 2D Character Rigging

Part 1: Modeling
Part 2 : Texture Projection
Part 3 : Texturing Part 1
Part 4 : Texturing Part 2
Part 5 : Construction
Part 6 : Skeleton

Part 7 : Skinning