Script Final Draft
The final draft of the script can be found here, written by Niall Mahon. After receiving feedback on the fifth draft, we decided to take things to a more extreme level. We're using more morphs and more intense escalation to try and capture more of the humour that people liked from our original animatic.
New Character Designs
When we decided upon creating more abstract expressions and reactions, Our artist and director worked together to derive new character designs from the existing ones. Giving them new faces, more expressive mouths and larger eyes allows for some more bizarre animation without throwing off the audience. The new character designs were a joint effort between Nila and Lewis, with Nila mostly drawing and Lewis providing some conceptualisation.
Test
Here's a quick example of what some of the final animation might look like when using pose-to-pose keyframing on flash. the character is broken up into symbols for each part of his body, and is animated like a paper doll. This test was created by Niall with some help from Ian friend.
Here's a quick example of what some of the final animation might look like when using pose-to-pose keyframing on flash. the character is broken up into symbols for each part of his body, and is animated like a paper doll. This test was created by Niall with some help from Ian friend.
Final Working Storyboard
The storyboard makes some alterations to the narrative, mostly regarding the pace of escalation and the increased frequency of close ups and abstract images. this storyboard and the animatic below were created by Lewis. The ending in particular is changed. the final fist shot contains a sequence of around fourteen other shots, all of which are stills of distorted faces, yelling and screaming. Lewis was reponsible for this final storyboard.
We refer to this as the super shot.
We refer to this as the super shot.
Animatic
The animatic incorporates the new shots from the storyboard, while also blending previous scenes together to reduce the time taken and speed up escalation. One shot has also been removed. The new character designs allow for more flexible morphs and more exaggeration.
Now that we have our animatic, we can use it to create shot breakdowns much more accurately. Niall spent some time acquiring the frame count for each individual shot and placing it on the production chart. We can now use it as a reference when laying out our flash files. This animatic was created by Niall Mahon and Lewis Rogers, with 60% ofthe audio recorded by Niall.
The frame count adds up to 2250 frames, which is exactly 90 seconds at 25fps. This is the production chart's final form. It displays everything we need to track our progress and begin animation. As you can see, the the super shot in fact consists of a sequence of stills with some minor animation applied. It is the longest shot in the film, but by no means is it the most difficult.
The frame count adds up to 2250 frames, which is exactly 90 seconds at 25fps. This is the production chart's final form. It displays everything we need to track our progress and begin animation. As you can see, the the super shot in fact consists of a sequence of stills with some minor animation applied. It is the longest shot in the film, but by no means is it the most difficult.
The One-Sheet (to rule them all)
This is the final draft of the one sheet after fields of criticism and reviews. It was created by Leonard, as were all of the previous versions. The sheet was heavily inspired by old wrestling posters. We made some corrections to the older version in order to reassign the new character designs and make them appear more aggressive.
They now also don't appear to be in a bath together (actual comment by Chris Webster). In all fairness, he had a point.
The spacing on the text and location of less important/fictional information has taken more of a minor role, and the title is left alone without distraction. The poster also nicely depicts the theme of the film, and the paper poster texture really gives it a more dynamic feel.
Production Management (Schedules and Charts)
Our production schedule has also changed, as it was based upon the new production chart. We now have evenly distributed shots and tasks to carry out before our Christmas break. We've made changes to areas such as colouring and clean up. Originally, the colouring and clean up was to be packed into one long task, but now it's spread throughout the weeks to prevent the team from being demoralised and bored.
Lewis and Nila are going to work together on the super shot towards the end of the term. As before, the chart and schedule were created by the producer; Niall.
Lewis and Nila are going to work together on the super shot towards the end of the term. As before, the chart and schedule were created by the producer; Niall.
Next we have our budgets. These budget breakdowns go into detail about the costs of living and materials during the production of our ninety second film. This first sheet is a real budget. The second is a made up budget based on research. It explores what a real/professional 90 second film would cost.
The next is a hypothetical budget. We were given a set sum of cash by our tutor, John Parry, and told to create a budget as if we were a big company. This is how it turned out.