This middle section contained a beat of Tala climbing into a canoe and reflecting on her lost dream of voyaging with her people. My guess is, that this was skewing the scene too much toward Tala and away from Moana. Too many agendas in a single sequence can sometimes muddy the waters. It was eventually decided to leave Tala outside the cave, insuring that the following beat would be Moana's moment alone.
This last image was a screen cap from a colleague who was modeling the cave environment at the time. We got together and talked about the sequence and camera placement, after which he was able to give me a number of screen caps that I was able to use.
...to be continued.
Thank you for sharing this sequence.
ReplyDeleteNot only your drawings are awesome but the decisions on cutting and framing are unique.
Can I ask you a few qustions?
In the comments to one of the posts on the blog you mentioned that you use image viewing program to check the cuts and continuity of the storyboard. So every panel is a separate file. Do you still use this approach or maybe Photoshop timeline or layer comps?
Do you receive timing limits for the sequence in the film?
Who is your favourite film director? What is your favourite movie?
For stepping through images, I use an in house program at Disney called Raconteur which was designed to interface with Photoshop. It manages our story panels and creates an organized catalog of our scene. Some of my colleagues use layer comps. I personally never took to using them.
ReplyDeleteIf by "timing limits" you mean a limit to how long the scene can be, not really. We are handed script pages to board and do what is needed to get them to the screen. That's not to say we can't make good choices to be economical in our story telling. We're always trying to avoid creating what we call, "shoe leather" - i.e. pointless action or business that doesn't advance the story, but uses up precious screen time.
I like too many directors and movies, it would be difficult to pick one!