October 10, 2014 at 5:42 PM #7409
Sorry for just placing the link, I’ve got a busy day ahead of me. And the sequence plays out better any ways on my blog sight as you can just click though the images, and get the animatic/strobing effect. I’ll try to post them all here if I get out earlier (got to calm down some panic-ed faculty I work with).
I kept my ideas as a whole – but really tried to simplify the drawing (what is posted is a later draft/polish pass. I went over it at least twice. If you’d like to see that version, let me know.), and to move the camera a lot more. Hopefully that all came though. In particular, let me know if the crane shots are working. I always feel I have trouble with those types – as to pull them off it involves a perspective change that essentially has to animated (at least that’s how I reason it). For example for a camera to crane up from a near eye-line to higher up – the perspective grid must start narrow (in one-point perspective) to crane up to a wider version (the z-axis lines), right?
The dollying-crane-shots always seem to be hardest to really pull off and it seems that’s what you (Sergio) are pushing us more towards.
And just to be honest, here are the films I looked at for shot ideas:
The Last Samurai
The Good, The Bad and Ugly
Lord of the Rings: Fellowship of the RingOctober 10, 2014 at 6:12 PM #7410
Okay, now they are telling me I have more “time” and things are apparently “fine” now…..October 10, 2014 at 6:32 PM #7411
Okay – second set (breaking it up in groups of 100 images)October 10, 2014 at 6:55 PM #7412
Third Part:October 11, 2014 at 6:58 AM #7423
Excellent work my friend. your shot choices are clear and the action is exciting and dramatic. You have a nice fluid drawing style that lends itself well to storyboards.
A few tips for pushing this more to being awesome:
-your drawings can be cleaner for a “finish” pass. for this to be a solid portfolio piece, you should go over every panel with a clean line and simple tones. I know this is a demanding assignment to finish in 2 weeks, but go back and take the time to make the drawings shine. you need to build up your tools so that if I only gave you 3 days you could produce clear appealing boards with all the action included with what you described here.
-at times your perspective grid gets in the way of the composition. its easy to draw that on a separate layer and reduce the opacity.
– you are reusing shots sometimes which is not necessarily bad, but if feels like you got lazy instead of cutting a new and unique shot. In movies, they cut to the same camera set up all the time, but in boards its better to cut back to a shot that is slightly closer or wider than the previous set up. I even think its a cheap cop out when they do this in live action.
-the last part where Kume takes out the bad guy, you tried to do too much in one shot. The silhouettes are not clear for such quick action. You can get away with one shot, but you need to stage things clearer so the dart coming out of the sleeve is unmistakable. This is where insert close up shots are really helpful. In this case I think its best to cut to an insert shot to show the detail. A quick cut to the dart hitting the neck will have a lot of impact.
I love what youre doing with the camera. My only advice is to push it more. no more going back to still frame shots you used before. The camera and the characters always move, and you are proving that you can control both much better.
Keep up the hard work!
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