“My Brother” is a personal tribute to the silent contributions of migrant workers globally. I grew up in the island city-state of Singapore, where encounters with migrants of countries as diverse as Bangladesh, Myanmar, China and the Philippines are part of everyday living. Many of them take on jobs that are considered by the larger public to be menial in nature. Sometimes, the differences in our cultures and socioeconomic statuses cause social friction. When we allow this to be left unchecked, it can evolve into darker displays of xenophobic behavior.
But the inability to see past differences is not just a local issue; it is an increasingly global one. From where I am now in the United States, I am beginning to see how irresponsible political rhetoric, among other factors, influences previously big-hearted populations, populations which embraced – indeed championed – diversity.
My response to this wave of sentiments is inspired by a quote I came across recently, attributed to the French composer Claude Debussy: music is the silence between the notes. The project aims to recognize the silent migrant workers’ contributions to our communities and celebrate their music between our notes.
“My Brother” is thus a metaphor for the thousands of underappreciated migrant workers we come across during our daily commute. I believe that bridges are built on bricks of commonalities and so the focus of this project is on the spaces of our shared humanity – school, families and personal dreams.
After viewing the video, it is my personal hope that you make my brother, your brother too.
Many of the shots required for me to work with a combination of different softwares in order to be as efficient as possible. While traditional frame-by-frame animation often seemed the way to go, it was important, given the time constraints and desire to keep my weekends relatively free, to pick the fastest way to achieve the kind of animation I had in mind.
The sequence of the ball morphing into a purse was first animated in Photoshop. Using the frame-by-frame line work as a reference for the poses, the sequence was then reanimated from scratch in After Effects using layers and masks.
Animating in After Effects both simplified and sped up the process a great deal.
Brush strokes were added only later on in Photoshop to maintain the aesthetics of traditional animation.
The cereal elements floating up to the surface are essentially 3D objects passing through a displaced plane.
Ripples were animated in After Effects using an expanding layer mask and a displacement.
The droplets were animated in After Effects using 3D strokes with the taper function enabled. To create the effect of liquid merging, the droplets were precomped and a simple chocker effect was applied to it.
By working in After Effects, I could make quick and easy customizations for each droplet - its length, size, speed, and path.
Directed by Audrey Yeo
Written by Andrew Yeo
Steven Mark Day
Khoo Siew May
ADDITIONAL 3D SUPPORT:
Created as my Senior project at Savannah College of Art and Design (B.F.A Motion Media Design 2016)