Storyboarding and key Story Beats
Perhaps the most essential step of my animation process for this film will be the storyboarding. Heading into this task, I set out with the intention to keep my cinematography flat, without many varying camera angles to give it a more ‘2D appearance’ and mimic that of the view of a real theatre, relating back to the ideas of the Vaudeville comedy. A key element Kenny Roy expands on in his book How to Cheat in Maya 2014 is when considering staging is “how you are going to maintain the high level of communication throughout the life of the shot?” (2014, pp.8). Considering this, I thought what the main element of my story, that adds audience communication and directional attention, is the spotlight. Due to the lack of changing shots within my piece, the spotlight will act as a cue for the main change of action between the character, which will benefit me in the process of creating my shot list.
Story Beats
Beat 1:Introductory black screen which will include finalised title card designs, such as the skeleton head or warner brothers style ‘merrie melodies’ card. Ideas to potentially have effects that act as film rolling to give a contextual feel to the piece.
Beat 2: [Wide Shot] Pin-hole transition opens the scene to the two skeletons standing on a stage with low/ minimal lighting. both of the skeletons are standing in a still and autonomous pose that does not have the minimal movement of still human beings (E.g. breathing).
Beat 3: [Wide shot] The pinhole transition ends and the two skeletons stand in the centre of the screen. There is very low or no sound to create a feeling of anticipation and tension. as on cue with a beat of sound, two spotlights will fall directly onto the skeletons, setting up the ensuring theatrics.
Beat 4: [Close up] Cuts to a close up of Skeleton A’s face looking concerned and worried for what is about to happen.
Beat 5: [Close up] Cuts to skeletons B’s face filled with anger and competitivity, he is more prepared for this battle and is ambitious to win.
Beat 6: [Wide shot] The spotlight falls on Skeleton B, he is raring and ready to go. He dances with fluidity and effectiveness.
Beat 7: [Wide shot] Skeleton B avoids the ‘trap door’ with ease and glides over effortlessly, winning his round of the dance battle thus far.
Beat 8: [Wide Shot] Skeleton A is now at the centre of the spotlight and acts hesitantly and confused at the attention.
Beat 9: [Wide Shot] Skeleton A is startled by the trap door that begins stalking him. He jumps over the hole with panic and several of his bones detach from his body in surprise.
Beat 10: [Wide shot] Skeleton A’s head detaches and he catches it, gets down on his Knees and mimics famous Shakespearean hamlet scene.
I felt using this reference within the theatre environment felt entirely appropriate, and by utilising the most famous line of hamlet “To be or not to be” it makes a clearer and more accessible reference in place of “Alas poor Yorick”.
Beat 11: [Close up] A still frame as the screen shows the skull spotlight, text appears showing “To be…”.
Beat 12: [Close up] The skull turns to face towards the camera and text appears on screen stating “or not to be”.
Beat 13: [Wide shot] Camera falls back on skeleton B, he dances with grace once more and even further confidence than his last round.
Beat 14: [Wide Shot] Skeleton B falls into the trap door and falls apart, crowd boo-ing sound effects.
Beat 15: [Wide Shot] Skeleton A is winning and starts to do a dance with more confidence and grace than previously. (Perhaps Utilising a `John Travolta ‘Saturday Night Fever’ reference.
Beat 16: [Wide Shot] Skeleton A falls into the trapdoor and limbs detach themselves in a overexaggerated comedic effect.
Beat 17: [Wide Shot] Shows the empty stage with a single spotlight left on the trap door/ hole in the floor.
Beat 18: [Pan shot] Pans down through he floor to show piles of previous skeletons and highlights skeleton A’s hand jutting out of the top of the pile.
Beat 19: [Wide shot] Skeleton A’s hand waves as the pinhole transition closes in on it.
Beat 20: Screen Fades to black and credits start to roll.
Thoughts and Processes for the Following Week
Going into the next pre-production stage of my film, I will next complete the project animatic so that I can find the relevant sound materials and see how this times with the overall pace and action of my storyboard thus far, garnering a more solid and stable idea of the dances and movements of my film.
References:
. Shakespeare, W. (1948) Hamlet. Cambridge University Press.
.Roy, K. (2014). How to Cheat in Maya 2014). Abingdon, Oxon: Focal Press.