Wednesday, February 3, 2010

Animatic

As I previously mentioned I am bypassing the storyboard and going straight to the animatic. That work started a couple of days ago and is progressing well (I think) but I am going to have to rely on my mentors to keep my camera movement and timing on track.

The movie will essentially have 6 sequences(The Opening Sequence, The arrival, The Journey, The Main Event/Climax, The Ending and The End Credits) and I have finished the first cut of the animatic of Sequence 2 - The Arrival (~34 seconds). Most of the movie is taken up in Sequence 4 - Main Event/Climax where the dialogue alone runs to ~ 2.5 minutes.

Anyone know any good free voice talent :)

2 comments:

  1. Hi David -
    I guess since you have this blog I'll leave my comments here.

    The script is a nice start, though I found the character-naming convention a little distracting , i.e., "Buyer (Proog)", "Agent (Emo)", which you then drop on page 4.

    Also a few typos, which I have little patience for (Turns for terns, capitalizing Gulls and Turns, it's for its) so if I see more I'll be commenting on them when I'd rather be commenting on the actual work.

    The animatic: Nice start and just two comments.
    1) It seems a little counterintuitive for the pegleg guy to be hoisting himself over the railing on his pegleg. I assume you want to emphasize this physical characteristic in this shot, but it seems like the emphasis would be just as strong if he lifts himself on his good leg and brings the pegleg up second.
    2) The first view they have, which on examination appears to be waterfront warehouses, at first impression looks like a walled fortress and not a deserted island community. I'm not sure this is the impression you want; at the very least it doesn't mesh with the script.

    I hope these comments are helpful. If you want comments delivered some way other than the blog let me know!

    Gerry

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  2. Hey Gerry,

    The animatic is using borrowed characters and sets. Its purpose is simply to get the timing and the camera postions/movement/angles for the sequences.

    David

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