My internet was down for awhile, but I’m back on the wagon.
In order to accomplish the task of making full-length animated movies, I need to understand, experiment with and study all the different facets of animation. I’m going to start by studying and taking notes from books focused solely on a specific aspect of animation, and then experiment with what I learn as I compile everything together. For those that are new to animation, or maybe as a reminder to those who are somewhat familiar with it, here is a breakdown / flowchart of “the process”. By flowchart, I mean ” –> ” arrows, you know me- always keepin’ it classy:
Script—> Storyboard—> Soundtrack—> Track breakdown—> Designs—> Leica Reel—> Line Tests—> Cleanup—> Trace and Paint—> Backgrounds—> Checking—> Final Shoot—> Rushes—> Dubbing—> Answer Print
The Answer Print is pretty much the finished version of the animation. Sounds complicated, right? Well that’s exactly why I want to break this process down and study it, because trying to take it all on at once is foolhardy and probably overwhelming. So I went to the library with getting some books on writing scripts in mind, and it turns out that a few directing books have parts about writing scripts. So I’ve started taking notes from the first book, ‘ Film Directing: Shot by Shot”, by Steven D. Katz. I’ll end off this update with three excerpts that really struck a cord with me:
” Artists who are driven to rewrite the rules are never stifled by first learning traditional techniques ”
” The design of a sequence, like writing, is one of the greatest pleasures of narrative filmmaking. While the search for the perfect sequence may involve a great deal of hair pulling (my own) and dozens of takes, a few graceful shots in the finished film make the effort worthwhile ”
” Vision is the art of seeing things invisible ” – Jonathan Swift