Blog 3

I am still in the pre-production stage and I have received feedback for my idea’s and the story treatments, now I believe I have adjusted and am looking at the storyboard and anamatic stage of the assessment. After the first time I had shown the treatment it turned out it wasn’t making enough  sense, for example “why would the imp pick up a fish to slap the busker instead of a stick or the guitar”. So I spent more time on the treatment and worked it out so more details were communicated. The imp I made more stumpy than in its original design also. What really helped as well was Tim’s suggestion for a background plot summary, I had gone off and created a big description of the world the assessment is set in which I feel illustrates a lot about the imp’s character and how I want his attitude to be.

I am putting in some research into storyboards. I found a article by Andy Beane on the 3D production pipelines of Pixar and Dreamworks which defines a storyboard as such “The storyboards for the movie are then made storyboards are like the blueprint for the movie which show the dialogue and action which will be in the movie. Each storyboard artist at Pixar receives script pages or a beat outline of the story, basically a map of the characters and their emotional changes that need to be seen through actions. Using these guide lines the artists assign the sequences draw then out and then pitch their work to director.”3d_production_timelines.jpeg

With my 2D storyboards I drew up a setting which I could put a lot more details into that hopefully illustrated the harbor town feel I was going for before I scanned it into a digital copy. I had gotten to draw and scan the busker and the imp as well, what I proceeded to do was stretch, copy and alter the drawn images over Photoshop when they needed to be changed for a new shot. This felt like a clear storyboard and the expression that needed to be present could be easily made out by the simple design the imps eyes have. You can tell he gets mad and happy by his eye shapes which take up most of his face.
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The 3d one however might display somethings that could be confusing but are actually guides. For example I have left numbers all over the blocks that wont be visible in the footage, they are on the storyboard to guide me though. I can track where the blocks have moved and where they should be by the numbers, if I want to know which block to select on move if I get lost then I can just look back at the storyboard. The characters face in this will be covered by a iron mask however, so all expression will be done in the movement which will only be relevant in the end where he trips off the top.

I am planning to use the work files for the story board development to help make the anamatics later on by the way.

After looking into some videos about Will Simpson, the storyboard artist for HBO’s Game of Thrones and also some Matt Groenings Simpsons storyboard examples. What I get out of these videos that relate back to my work is that the amount of examples for expression and mood is lacking in my mood boards. Also the amount of activity I have detailed does not need to be as much, I should compact it more next time or if I find the time to go back over my storyboards. So next time less activity and more expressions, also Will Simpson gave me a good idea on benefits of putting a bit more artistic passion into the story boarding process so more of the attitude of the overall animation can come through.

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References:

Beane, A.B. (2014). 3D Production Pipeline (Pixar vs Dreamworks). Retrieved from http://www.upcomingvfxmovies.com/2014/03/3d-production-pipeline-pixar-vs-dreamworks/

PicPakDog. (2013). Simpsons Storyboard. Retrieved from https://www.youtube.com/watch?v=vyO4F5hWJgQ

Matt Groening. (1989). Simpsons. Produced by 20th Century Fox in USA

GameofThrones. (2015). Game of Thrones: Will Simpson Drawing Storyboards Extended (HBO)

Traparebel. (2011). Catherine – Repunzel Stage 5 – (2050 pts). Retrieved from https://www.youtube.com/watch?v=02Jg9fkb86U

Soejima, S.S. (2011). Catherine. Published by Atlus in Japan

 

 

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