22 June 2010

Thesis Animatic - Version 21




I've been playing around with the overall pace of the story, extending some of the shots in order to give the viewer more time to absorb what is happening.

I've come to the acceptance that, as my story stands, it is simply one which requires more than one viewing to absorb everything in its entirety. It is not a new discovery, of course, but something I have been trying to rectify by allocating more time for the viewer to understand the events of the film. But despite my efforts, unless I remove something dramatic to simplify the story - such as Cyrus' empathy - it might be impossible for viewers to understand everything in its entirety the first time they watch it.

However, I'm not so sure that this is a bad thing.

The important thing for me is for viewers to be able to enjoy the film on the surface, whether or not they understand the complexities of it the first time. And for those who do figure out the more complex undertones of the film or are willing to watch it a second time, they will be able to enjoy it to its fullest extent. I have to keep in mind that this is, ultimately, a television pilot and this film is meant to just be a taste/preview of the whole story - where such complexities can be fed to the audience in tinier, bite-sized chunks.

So for this version of the animatic, I've replaced my voice acting for Cain with a temp track of his real voice actor, extended some of the shots and, as an experiment, added one of the animations I'm currently working on to see how it worked as part of the film. Seeing it meshed with the storyboards before and after makes me re-think Cyrus' walk animation. It might be too fast and a little bit too much of a swagger. He should probably have more of a stalker-ish glide, walk more slowly and take fewer steps before getting overwhelmed by the bystanders' thoughts.

It's also made me realize that, once the storyboard stills are replaced with animation, this film may end up even longer than I thought. For a film this long and complex, it'll be important for the animation to have the right speed and pacing. Consequently, it's caused me to rethink how I'm going to handle the animation style of the film. I was going to try and ink the line art as the roughs are finished, but to make sure that the animation style of the film remains consistent, and the pacing isn't too quick or too slow, I believe it will be best to finish the roughs overall, first, and start the clean up and inking process once we can see how enough of the scenes flow together in sequence. Also, there will be a balance between using limited animation for shots that can afford to have it, to allocate extra time to dedicate to the shots that would best benefit from full animation. Because more in-betweens can always be added to shots if there ends up being enough time for it.

The important thing is budgeting the time as best as possible to graduate on time while giving this pilot the best chance in every way that I can - both in terms of aesthetics and storytelling.

It will be a fight that will last until the moment I hand in my Thesis and receive my diploma, and quite possibly after. But this was a fight I've worked all my life to have, and I will do my best to make this film the best it can be. Thank you to all who are helping me.

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