The Animatic and storyboarding process of an animated film, arguably, is the most important step, as a visual piece of narrative work has less value when there is no purpose behind its presentation. Considering this within documentary contexts, since the ’narrative’ displays factual accounts I felt it important to not just replicate real life but really utilise the animated form in a way that can express metaphoric subjectivity. As stated in Storyboarding: A critical History by Pallant and Price, storyboards in the contemporary age assist massively with understanding continuity editing, and it is essential to understand narrative aspects in my film, and how these different pieces of dialogue will stitch together in a meaningful way that can be visually interlinked.
Going forward Into the following weeks, I aim to complete my previsualsation as soon as I can as ”Previs presents the most accurate vision possible with resources available” (Pallant and Price, 2015, Pp. 152). This will also give me a stronger idea of any additional assets I will need following the list I have created below.
Asset Modelling List
Reference
. Pallant, C and Price, S. (2015) Storyboarding: a Critical History. Basingstoke, Hampshire: Palgrave Macmillan. .