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The process that David is using, to create this piece, is closer to an 'old skool' method of animation, using 'new skool' tools. His first stage is to hand draw the storyboards in pencil, on A4 sheets. 


Using these as reference he then hand draws each frame into the computer, using a graphics tablet & photoshop.  Any colour or texture that is required is added in photoshop at this stage.


Then he places each frame back into the timeline of Flash, and the animation is born.


May 07 saw Mac User magazine do an article on David and his work, and if you click on the image to the left you will open the pdf of that 2 page spread.



Movie 1

David talks us through the process & inspiration in this short movie. [13.3Mb]

Movie 2

This second piece is once the rough storyboards have been brought onto the computer, so that they can be placed along the timeline.  This allows David to get an idea of how long the music will need to be, and to find transition points between the audio & the visual.

It's quite a jump to see it on a screen, and now it's gotten quite exciting ... well it is to us anyway.

[This movie clip is 19.9Mb]

Movie 3

Our third trip to the world of Mr Haughey & the creatures of  his mind came about because the beginnings of the computer animation was starting to take shape, and a clearer directionof what was going to be able to be achieved resulted.

David talks us through the creation of the opening shot, all the parts that move & don't move, and the concept for how he thinks he's going to achieve the colour palette that he wants.

[This third movie is how to animate the opening sequence & is 9.6Mb].

Movie 4


[This fourth movie is how he plans to colour the animation & is 8.9Mb].

Movie 5

[The king of the 'how to ..' movie clips has knocked together a work in progress for us, to show speeded up replays of his actual creation of 3D models, intercut with actual flash animations of some of the video footage.  A treat to see how it all comes about. 13Mb].


The Story


Using the notion of the Valkyrie as a controller of fate, it is from this that the narrative will be constructed.  Within the piece there will be two

stories, one of a fourteen-year-old boy travelling from his parents' house to a public house. The other concerning the travel of a seven-year-old girl on a plane journey from Newfoundland to Paris.


The Boy's Story


This will begin in the boy's bedroom. We will see him getting ready to go somewhere. A suit will be laid out on his single bed. We will see him combing his hair, getting dressed and looking generally uncomfortable in what he has to wear and how he looks.  He asks his over-obliging-middle-aged parents to drive him to his destination. On the journey the boy has to make a stop and collect a computer at a friends house. The house is empty but the boy knows that a key is under the front door mat. He gestures his parents for help and opens the door of the house. The boy carries out an old television from the house and indicates to his mother that he needs the keyboard. The boys father opens the boot of the car and helps his son load the huge old television. The boy's mother appears from the house carrying a huge old piano keyboard covered in brushed aluminium and black Formica. The boy indicates that this is not what he was after. They load up the keyboard, and get back in the car. The group are travelling on country roads, passing only the occasional house or farm. The boy's father indicates that he has to stop to get petrol for the car. At the service station the boy is looking at the shopkeeper from the backseat of the car. He looks perplexed. He indicates to his mother that he thinks he might have forgotten to lock the door and put the key back under the mat. His father is whistling and filling the tank with petrol. The boy looks down at his suit. He is getting increasingly uncomfortable. The group continue on their journey. The boy sees a small red plane parked in field behind a farmyard. The vehicle is rusted and over grown with weeds and grass. He indicates this to his parents. They crane their necks, but miss the opportunity.


The car stops outside a three story Georgian house. The house has a long driveway and is surrounded by various shrubbery and garden knickknacks; to the rear it is shadowed by one large Ash tree. To the left of the front door is a small hand painted sign. Putnam's is the name at the top of the small board, and below is a lunch menu. The boy sits in the back of the car with his eyes pointed at his feet and removing the skin from his bottom lip with his top teeth. His parents swing around from the front seats of the car smiling and looking at the boy. His father asks if they boy wants him to open the boot. The boy looks at the house from the back seat, and then gets out of the car. The boy is standing at the start of the gravel stones on the driveway, looking at the house. His father has already unloaded the television and the keyboard; he closes the boot and indicates to the boy that they are leaving. The boy's mother is smiling and waving from the front seat of the car. His father, already back in the car leans from the driver side, smiles and waves through the passenger side window. His parents



The boy looks at the oversized electronics, then down the long driveway to the house. He puts the keyboard on top of the TV.  He squats low with his face to one side and his fingers dug under the TV and gravel. The corners of his mouth wander towards his ears as he strains to uproot the Formica clad monstrosities. (We will have a small section of the boy struggling down the driveway with the units.) The boy makes it to the front door of the house; he steps away from the equipment and looks at the signage. Just underneath the dinner specials, written carefully in orange chalk are the words, with entertainment. The boy looks at his feet. He walks straight into the house without knocking the door. Inside the Georgian exterior is a public house thronging with people drinking and eating. And of course with the racing on the television mounted at a slightly too acute angle to the position of the barman. Arms folded, mouth slightly agape and head to one side. The boy moves through the people and attempts to attract the attention of the barman. The barman stares at the boy for a bit, then sticks two fingers in his mouth and blows. Without orientating the position of his head fully toward the boy. An older man runs from a nook behind the bar toward the boy.


He is wearing a "don't mess with the chef" apron. The boy gestures to the equipment outside the door. The chef looks at the bar man. The barman watches the horse racing. The boy makes his way through the bar to the rear of the house. There are fewer people. As the boy moves through the rear room a small hairy hand tugs on his sleeve. The boy turns. A small man with a face like a dog and wearing an identical suit asks him loudly, "Are you wearing my shoes?" All conversation comes to a stop. The barman looks over the bar at the boy. The boy looks at his feet. The dogman erupts into laughter. Everyone erupts into laughter. The boy tugs free from the pinch and walks toward the stage. Business continues. The boy sits on the small stage and stares at his feet. The Chef comes struggling through to the rear room with the equipment stacked in his arms. He brings it slowly to the low set stage. He sits exhausted on the other side of the equipment next to the boy. The boy takes a piece of paper from his suit jacket pocket and hands it to the chef. The chef takes a look at it, looks at the boy with a raised eyebrow, looks back at the paper, exhales and ambles slowly back toward the bar. The boy plugs the keyboard into the TV and tunes the TV with a screwdriver from his pocket. (From this point the TV screen will always be out of view.) The boy begins to play. The woman sitting with the dogman gestures to the TV set. The dogman turns and looks at the screen horrified, the food drops from his mouth. He gets up from his chair and walks slowly toward the boy, the keyboard and the TV, his eyes on the screen. The dogmans walk turns to a strut, turns to a sway and a spin. The dogman begins to re-enact Kevin Bacon's famous final dance scene from the motion picture Footloose. (At no point will this film be referenced aside from the dancing.) The boy plays with his head down and his eyes closed. Behind the boy on the stage is a picture of a red Nazi Fokker. At the climax of the dance the barman pushes his way through the crowd, shouting and waving a piece of paper in the air. The crowd quiets and the dancing dogman stops dancing. The boy continues to play with his head down and his eyes closed. The barman looks at the screen horrified. He moves toward the boy, visibly trying to resist the urge to dance. The dogman moves quickly in front of the boy with a guarding poise. 


The dogman barks. The barman reaches for both the boy and the dogman and picks them straight up. The music stops. The barman carries the two through the premises at speed and throws them out the front door. The barman shouts at them from the door and throws the piece of paper at the boy. The Chef is at the menu board carefully writing cancelled in orange chalk under the Dinner specials. The boy picks up the paper and puts it back in his suit jacket pocket. He stands up, at the other end of the driveway, his parents are smiling and waving from the passenger side of the car. The boy looks around to the house. The door is closed, the barman and chef have gone inside and the dogman has gone. He turns and walks toward the car. He stops halfway and looks straight up. The blinking lights of a small red aeroplane are passing high above.



You can see more of David's work at www.davidhaughey.com


Click here to read some Version 1 of some questions and answers with David Haughey about Valkyries Dance

Click here to read some Version 2 of some questions and answers with David Haughey about Valkyries Dance