storyboard comparison july 7,2004

~ SC.045

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* Unnecessary downshot - difficult to animate; does not feature sign or opening in door well.

Lower angle is the solution.

SC.065

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* Downshot difficult to animate and convincingly draw without special models; flatter shot communicates same idea, but simpler to execute.

SC.076

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* This dead-on shot is a clearer composition (with no overlap) which is more dynamic and funnier because it is so direct.

se. 078 - 079

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* For this series of shots, the straight-on direct approach is funnier because they're staring in awe at screen - 3/4 shot dilutes the comedy a hit.

se.095-097

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* Cutting to closer shot of Mac cuts into the comic rhythm

of the back & forth of the wide shot; and animating his feet entering & turning around would be awkward.

In Sc 97, just animating Wilt's feet exiting is easy & we could feature Bloo without downshot.

SC 102

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* Need to see more of Mac in shot (or lose him altogether), silhouette Wilt better and get camera lower (more at Mac's level). Also, Wilt should really seem to wipe tear.

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* Instead of having Mac lift Frankie in wide shot (difficult to animate), Mac just antics push in wide shot then cut to medium shot of BG where Mac I Frankie could easily pan into shot.

SC.113

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* Unnecessary downshot - difficult to animate; Lower angle soluton.

SC 118

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* New shot elimates the need for Mac turning twice during run (easier to animate with our resources).

SC.120

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* REVISIONS ON NEXT PAGE

SC 120 -120A

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* After zoom out. the animation in the original shot is VERY TRICKY (3/4 upshot walks in perspective) Also. there was little explanation of how all the characters would pay Bloo & what he'd do with the money. In the new shot. we can show the lineup of characters wide with very little full body animation (in profile), then cut to med. shot to avoid walk animation we didn 'f have and visualized aU handing off of money so that it could be timed & animated - much clearer, simpler and more effective.

SC 123

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SC 123

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* New staging is clearer & easier to animate - it also allows Mac & Bloo more room for acting without overlap from Coco. Also, it made more sense to have Bloo (wbo enters scene last from left) settle left of Mac for sc. 8100's also shorter, so he fits under Coco's beak better than Mac.

SC 125

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* Now, instead of cutting to wide shot to see more chars still scampering away (more unnecessary animation) as well as Mr. Herriman hopping

in, staying on profile door shot allows Bloo I Mac to rise into shot waist-up then truck out to reveal Herriman already in shot (after voice-over).

SC 124 -124A

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.,. It's way more difficult to convincingly animate chars. running past camera out door (profile here is not correct for shot)

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*" Instead, it was simpler to have Mac &8100 react in lst shot, ducking ols 8S Coco;s feet retracts; then cutting to proflle shot OlJTSIDE of Frankie's door to see chars (med shot - waist up) running out of room (easy North I South animation).

SC 179 .. 180

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SC 179-180

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* Dramatic angles unnecesarynew staging is a bit cleaner & easie r to read.

SC 183

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* Original shot is too crowded - hard to read.

New shot opens up frame; better silhouette.

SC 201

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* New shot avoids full body dance animation while keeping true to point of scene.

SC 203

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* New panels avoid Frankie downshot slide; just pops up from in front of dresser - purpose of scene still fulfilled.

SC 210

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* Transition fromQ)to@very unclear - new panels show Frankie open same door - she grabs then looks toward left (the same direction she's facing at beginning of scene).

SC 238

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* Frankie's action in new panel clearer & silhouettes better (stronger)

SC 240 & 242

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* Lower angle allows us to use more existing assets yet sacrifices no story points .. Also, jacket reads a little better.

* When showing some char. in FG, make sure to feature enough of the char. to read him/her in shot. Scale char. in BG as necessary.

SC 255

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* The new angle eliminates the need for perspective run on Eduardo & shot is cleaner, putting more space between Coco, Wilt & Ed. Allows Ed to send the others ols clearly & in profile (also, easier to animate without perspective).

SC 260 & 270

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* This long scene required 3 chars running around in a circle in downshot, The new, lower angle allows for profile runs where chars can go back & forth/ in & out of scene instead of perspective circle, as well

as allow the actions to read easily.

d-..70 (j)

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'* There was no special reason to have camera so high (nothing in particular to look down upon) so we lowered the camera to simplify our animation and to use assets already available to us.

sc 279

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* Wilt is very tall, so to see that much

of Mr. Herriman's hat at top of scene seemed strange. Also, Herriman's so large that he doesn't have room to turn to camera with any effect.; so we raised! scaled down Wilt and lowered! scaled down Herriman's hat/head (until last panel).

SC 303

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* This shot seemed way too crowded and it took the dramatic emphasis

off Mr. Herriman entering shot because it's an upshot of everyone at once .•.

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* The new shot focuses more on Herriman's entrance, then pans quickly to group to get reaction - both sides become more effective - plus, tbe new group shot allows for better-looking assets (stock models).

SC307

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"/r Even though this is a dramatic moment (and a dramatic shot), the staging of all of Herriman's full body animation in the single shot can be daunting. The new angle of Herriman must be created, then we'd need to animate all of the head & body's drastic changes - in perspective.

* REVISIONS ON NEXT PAGE

SC 307

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* Cutting the scene up into multiple claustrophobic shots retains drama & excitement while creating scenes which are MUCH easier to animate than the single long shot, Now, only the drawers and the arms/ hands need move, and quickly at that.

* The final shot widens to reveal sc. as a whole 'lith static drawers already opened and Herriman rummaging thru one file (only arm animates). We pan over at this angle and his bead turn is easy. It will also

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look appealing, and the final

composition is clean.

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SC 314

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* This new shot just gives us a little more room to the right of Herriman where all of the elements will fly through.

SC 317

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* Not only is the revised shot much easier to draw/animate, the joke plays funnier with the flat, profile shot. It's simplified so that the lameness of Herriman and his old camera read clearly. It's also an ironic contrast to the previous dramatic (extreme) shot.

SC 319

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* The new shot just eliminates the difficult to animate "struggle" shown in the original. We now simply wipe Herriman o/s left during film explosion; film rises higher into shot (pan up); then shoot Herriman straight up from "behind" film mess.

SC 337

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* Now we need only animate all of the chars in profile once and

just pan them diagonally thru shot; then we

flip the chars for the next window after the pan up and slide them thru again. This window treatment eliminates

the need to animate

difficult turns.

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