New Series I'm Working on.

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neomarz1
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Post by neomarz1 »

sequental wrote:10 pages of post, you are sky rocketing these days :roll:
Yeah, maybe people will stop following it, cuz its too much. LOL. It's interesting to look back, and see the history here. Thanks to all those who keep following this thread!

Bye the way, did you know you can drive yourself crazy by listening to your dialogue tracks a hundred times, while editing? I definately need to turn the volume down... That way I can appreciate my pilot episode when its completed. Now I know why studios pay other people to do their work. LOL. Marzout! That would be my one wish. To see this with new eyes!

:shock: :shock: Dream Walker @ 50% :shock: :shock:
http://www.youtube.com/watch?v=17kqR4nzq5w
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lwaxana
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Post by lwaxana »

Acochran_89 posted this "Storyboarding the Simpsons Way" link in another thread: http://accad.osu.edu/~pgarrett/730/read ... onsway.pdf The google reader makes it a little easier to scroll through it and read the pdf: http://docs.google.com/viewer?url=http: ... onsway.pdf The 180 degree rule is discussed on page 10. But Neeters_guy may have more to say about it. From what I can tell, he really knows a lot about the language of film.

His suggestion to break up that dialogue a bit could be used to create more interest, and it also gives you a chance to guide the audience through the emotions and events of the scene. For example, in horror movies, if the monster was behind the hero like that, they might do a close up of the hero's frightened/struggling face on the side closest to the monster so you can only guess that the monster is doing off camera and what the monster is about to do. Giving the audience less information when they want more can build tension. Raising questions about what will happen next or how someone will react when they learn some piece of information is key to keeping the audience engaged in the story.

I highly recommend the book Directing the Story by Francis Glebas. It's about directing and storyboarding. It really explains how to give each shot a purpose that heightens or advances the story. But more than that, it focuses on turning your film into an experience for the audience. It's all about using the film structure to control exactly what that experience is.

Before I make specific suggestions, what is the role of the zombie guys? I know you mentioned that Freya is a Christ symbol. So I am wondering if the zombies are supposed to be like the devil in that they maliciously tempt Eve toward the wrong path. Or are they just nice regular people who happen to be dead and to give her bad advice? I think the answer to that question will make a big difference in the best way to structure the scene.
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neomarz1
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Post by neomarz1 »

lwaxana wrote: Before I make specific suggestions, what is the role of the zombie guys? I know you mentioned that Freya is a Christ symbol. So I am wondering if the zombies are supposed to be like the devil in that they maliciously tempt Eve toward the wrong path. Or are they just nice regular people who happen to be dead and to give her bad advice? I think the answer to that question will make a big difference in the best way to structure the scene.
Well, Here it goes... The Zombies are not real. They are only Eve's internal voices. They represent her own personal struggle. She feels a certain amount of guilt for outliving her loved ones. This is how her guilt manifests itself. I guess that's why I have made them both menacing, yet fathering as you suggest. She has had this reoccuring dream for thousands of years, so I would imagine that she would not be as scared... the problem here is that I should show some fear for the purpose of drama. The reason Freya is in the dream, is that she is able to communicate through Eve's dreams. So she can be an active participant in Eve's experiance.
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lwaxana
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Post by lwaxana »

That's a cool story device. Does Eve believe they are real? Is the audience meant to believe they are real?

And is it supposed to be immoral/evil to choose death in spite of her purpose? In other words, is this her struggle between right and wrong? Or is the struggle that she doesn't see any point in being immortal, but her father wants her to and she doesn't want to disappoint him? Or other? :D
scilencer
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Post by scilencer »

add me to the fan list!!!! :lol:
Uolter
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Post by Uolter »

Hell! It's fantastic! I can't believe the amount of work you're doing alone! Yes, a few thigs can be improved (but I leave these comments to experts) but the overall result is impressive. I like it very much, I didn't understand well the dialogues but the animation do the most of the job, looks...GREAT!
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neomarz1
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Post by neomarz1 »

lwaxana wrote:That's a cool story device. Does Eve believe they are real? Is the audience meant to believe they are real?

And is it supposed to be immoral/evil to choose death in spite of her purpose? In other words, is this her struggle between right and wrong? Or is the struggle that she doesn't see any point in being immortal, but her father wants her to and she doesn't want to disappoint him? Or other? :D
Yes, pretty much she wants to live and die like a normal person. The only thing keeping her alive is to fulfill her fathers wishes. She does believe they are real. They represent the souls of the loved ones, and unknowns that have passed before her. In the past she had almost followed their wishes (explained in another episode), but there was a turning point in her life where she had to consider her father's wishes. It's an interesting play on... Life is precious because it is short, and to what extent should someone suffer to honor their loved ones. Eve represents the argument for both life and death. In the story I hope to show why life is special and precious, why we choose to live, and why we fall short of grace when we consider death.
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neomarz1
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Post by neomarz1 »

scilencer wrote:add me to the fan list!!!! :lol:
:D :D :D TO BECOME A FAN :D :D :D
Just swing over to Studio Mars and join up. This way you can always follow the project, even when it outlives this post. I told my girlfriend that this is it. Ive decided that this is my purpose... "We all have have tried to live a life of purpose" (quote... from Zombie, In DreamWalker). See I told you when you edit scenes keep the volume down, cuz if you dont...you will repeat these lines in your sleep. God help me :(

Fan Up!
http://www.facebook.com/home.php?#!/pag ... 163?ref=ts
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neomarz1
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Post by neomarz1 »

Uolter wrote:Hell! It's fantastic! I can't believe the amount of work you're doing alone! Yes, a few thigs can be improved (but I leave these comments to experts) but the overall result is impressive. I like it very much, I didn't understand well the dialogues but the animation do the most of the job, looks...GREAT!
Sometimes the best advice can come from a spectator rather than an expert. The "Expert" always has something to say, whereas, the spectator can only comment on what he sees. I appreciate the comments. Was the dialogue confusing, or hard to hear?
Uolter
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Post by Uolter »

neomarz1 wrote: Sometimes the best advice can come from a spectator rather than an expert. The "Expert" always has something to say, whereas, the spectator can only comment on what he sees. I appreciate the comments. Was the dialogue confusing, or hard to hear?
No no! Don't worry It's perfect! It's me wit my rusty english :lol:
tigax_pwned
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Post by tigax_pwned »

ok thats 1 down! :oops:
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lwaxana
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Post by lwaxana »

Some more specific suggestions:

The zombie grabbing Eve's shoulder seems like an important moment to punctuate with a lot of suspense. After she gasps, you can provide more of a delay before the actual shoulder grab. That will give the audience time to realize that an encounter with the zombies is imminent. They need enough time to imagine the worst and get scared. To fill this time, you could show Eve looking afraid or tense or considering courses of action she could take.

You could even slow down the hand grabbing her. You could frame in tight on the hand and show the fingers slowly bending as they grab her shoulder. But that might be really hard to animate...! But essentially, just think about how you can milk that moment of when he grabs her shoulder.

Then when the zombie starts talking to her, you could show some of this with a 3/4 or side view. And maybe even zoom in closer to his face, focusing on his mouth, maybe with Eve's ear also in the shot. That way, the idea is more that Eve knows he's talking because she hears his voice, but since he's behind her, she can't really see what's happening. The character Eve may not be scared, but if the audience doesn't know that right away, they can still get scared. Although I think it would be cool if she did look scared, maybe some wincing with only part of her face on camera.

Image

These are some ideas on how to make her look like she's actually considering joining the zombies. Started out as a rough storyboard and then part way through it turned into something more like fan art! ;D I had way too much fun with that one. Anyway, the main points in that are that when eyes are visualizing and remembering (two important mental actions in this scene) they look off to the character's left. Unfortunately, that's where the zombie is, too. So it might look like she's looking at the zombie. So maybe you could make her default eye direction forward. Like she doesn't even want to look at the zombie. That way when she looks off to her left, it will give the impression that she's thinking a new thought. And basically, you can just stall a little with her being conflicted, before she gets determined and says that she says she will always honor the pact.

The other thing is, she can't really be that determined to honor the pact. Otherwise she wouldn't be having this dream every night for a thousand years. Maybe it should seem more like she's bluffing about how determined she really is? Or maybe lying to herself?
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lwaxana
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Post by lwaxana »

Almost forgot--the reason I focus on the zombie at first is that at first what he's saying is the most important thing. Then later in his speech, Eve's facial reaction to what he's saying is more important.

Some of these ideas could add a lot of work to the project. Plus, I'm no expert. Just trying to apply some of the concepts I've been researching. So use them as you see fit. :D
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neeters_guy
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Post by neeters_guy »

Great thoughts on fine-tuning the acting in that scene, lwaxana. And nice looking boards. Coincidentally, I did some boards too. Great minds think alike, eh? :wink:

Image

My goal was to add variety to the exposition, so it isn't so much just two heads locked in a close up.

What might help to get timing of Eve's expressions down (as lwaxana suggests) is to make an animatic timed exactly to the voice track. I use Springboard but any video editing software would work.

Let me put forth one more argument in favor of strong poses. Communicating subtle emotional shifts by dialogue alone is a challenge (particularly if the audience are non-native speakers). Facial expressions help for sure, but nothing will register faster than strong poses.
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lwaxana
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Post by lwaxana »

Neetersguy--That is awesome! It looks just like the boards from the book I'm reading on story boarding. Great poses and compositions. You comic book artists can do amazing things. :D
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