Thursday, 25 February 2016

Major: Pre_vis with Audio



This is the pre-vis so far, I've done some hand drawn bits as I'm thinking I dont want to use dynamics so I might use 2D in certain areas, others are just because I wasn't sure how to do it in maya.

I need to include shadow play in the first scene and I have an idea handy but I'm not sure how to produce it in maya so a word with alan may be needed.

Dummy sounds for now and textures are on the way - I'm also thinking of getting rid of Sallys cones altogether...

All feedback welcome :)

3 comments:

  1. hey Rosie - great you've posted this! I will offer up some feedback asap - just got to get through an open day and all the usual stuff, but watch this space :)

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  2. Okay - so, just some observations then:

    In terms of the very first scene, which I think is from the POV of the goblin, there needs to be more of a match between the words and the action - so the idea of him scaring granny. This could be achieved, as you say with shadow play, with the bog goblin's shadow looming up against a bedroom door with 'Grandma's room' on it - a sign hand-drawn by your child's character. Lots of families are 3 generation now. You could see the door just starting to open - and then cut to a reverse shot of the bog goblin's face being illuminated by the moonlight from granny's room, and then we could hear an old lady give a scream etc. and the bog goblin give a giggle. The lighting here could make the goblin look more mysterious and scary than he actually is: then you can cut directly to the girl's bedroom scene.

    When the little girl slips over - the composition of that shot is rather odd, as she's all the way over to the left of the screen when it happens, leaving us looking at a big expanse of wall. I'd consider re-framing this shot so it's stronger compositionally. The cut between her starting to fall over and then the doorway shot doesn't work yet - it feels 'flicky' which means the continuity isn't there yet. It does seem as if you cut away from the first shot too quickly, so we don't quite have enough time to register what's happening before the shot changes. Just look at the relationship between these two shots; they're not quite gelling.

    The composition for the 'eat the soap' shot is weird too - again, everything shoved to the left and a big expanse of nothing on the screen. Really think about creating the most beautiful, most dynamic compositions. Then, most of his head is cropped when we see him swallow. Some of these croppings seem awkward to me. How might you stage this moment more effectively? For example on 'Drinking toothpastes his thing' consider starting the shot further away from the goblin, so at the start of the shot his whole head and arm etc is nicely framed in shot, and then move into a closer shot as we concentrate on the action. I want you to really, really look at the entry points into each of your shots - and the exit points of your shots; does the subject of the shot remain framed at all times in a purposeful and pleasing away? I think you need to get much more picky and 'film director' about this aspect of your storytelling.

    'The daubing this wall and that one' shot - it seems to take a very long time for the camera to catch up with the action being described to us? It's a bit plodding.

    The scene with the cat flap is another example of really thinking about the composition and the balance of the shot - there's only a tiny fraction of the girl's head entering the shot from the corner - and this HUGE expanse of under-used screen on the left. Re-consider the composition of this shot - consider maybe bringing her in from the left instead, and showing more of her etc...

    If all of this sounds that nothing is working, don't be afeared! There's a sweetness getting started in this, particularly in the end shots. You've got some fidgety camera moves in here which I think you can fix - but come and speak with me tomorrow (Monday) and we'll go through and discuss.

    My general feeling is that the relationship between what we're seeing and what we're hearing needs to be tightened up; it all feels a bit 'behind the beat', as if the images are playing catch up with the narration. There's a lack of energy - all very fixable indeed, and this pre-vis is very diagnostic, so it's great seeing it. Just look again at your compositions and your use of the whole screen in terms of staging your action. Like I said, pay special attention to the entry points of your shots and your exit points - make sure they're always strongly composed and that the camera feels purposeful at all times. Until we speak...

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