Sounds like trouble - SPnU

After the recent weekly, the sound design was mentioned. More specifically, we needed to look into getting a voice actor to do the breathing and gasping sounds (something I overlooked). Ellie, our sound creator, sent us a few foley sounds a while ago, before we animated roughs, and I crafted a sound design spreadsheet (oh yeah) to keep everything organised. This also helped us identify what we need the supposed voice actor to do. We considered getting a voice actor to do the audio, but it seemed unfair to them to simply breathe and gasp, so we opted to do it ourselves.

We also updated our roughs and made notes on things to fix as we started the tie-down phase of the animation. Our sound designer, Ellie, also supplied a lot of the foley used in this:

The feedback this weekly also mentioned my starfish fire rough for the last scene (though I didn't see anything wrong with it, I acknowledge the audience might not think the same way as I do) so I tested out creating embers using reference (I didn't have much to go on but I used artistic license to make it look good):

Starfish fire (in the top-centre-left)

Floating sparks and embers (a lot more randomised in the final)

What went well:

• Efficient communication meant we were on top of things and organised,
• Having regular feedback sessions (both in and out of the Weeklies) meant we fixed problems before spending too much time on them.

What could be improved:

• Having the same deadlines for all of us for the stages of production meant I spent a lot of time procrastinating-with-justification (I was done with my roughs quite early), a better method would be to have the deadlines be recommendations or to have personal deadlines too. 
• On a more personal note, I'm trying to learn to take any criticism, even criticism that doesn't seem constructive, as something to improve on (sure, I can't appeal to everyone, but I can try to understand why people think the way they do).