RUN RUNRUNRUN! Run little girl run run run! Run little pup run!
(best viewed in fullscreen)
I’ve been taking Kris Pearn’s Schoolism class for a couple of months now, and it’s been amazing. Kris talks about the camera “capturing the action”, which is a concept entirely different than the normal philosophy in animation of “placing the camera.”
Basically, the camera should act as a real physical person, focusing on what they’re interested. Except that in the case of film, the Director/DP decides what they/the audience are interested in, and focuses on that. It’s the nature of the cinematic experience.
This week’s assignment was to storyboard a “Chase Scene”. Action is something I’ve never really done before, so this was a real challenge to establish space, character and drama in the context of a chase scene. I watched the “Missile Lock” sequence from The Incredibles a number of times, as well as chase scenes from Mouse Hunt, Bullitt, and some Stallone movie I wish I could wipe from my brain (but took place in the NYC Subway – like my assignment.).
I think I was somewhat successful. There’s a couple little things like the flower blooming and the significance of the hair that go unexplained. That’s intentional; they’re there as seed-planting. There’s probobably some fluff in there that could be cut. Overall I’m generally happy with it.
Strong feedback encouraged. Be brutal. Be an ass. I love it.
Here’s the what caught my attention Jim, in a kind of stream of conscience way, for what its worth:
I love page 3, it opens great.
I dont understand the arrows drawn near 10/3 – 10/5A, I assume its camera moves, but it made me think a sec.
I think there’s an “under-the-leg” shot for 13, but I’m guessing, so I think thats not clear, or why the cam. would be there.
I really like the stumble, that reads well for me.
Shot 26(and 30?)- what is she holding? his nose?
Shot 27- under the leg shot? confused.
By shot 35 I piece together that she has a hold of him, just as she’s letting go.
Shot 39/1+2- maybe it would be more clear with a head turn arrow and/or an action arrow that shows its the gnarly dog that is moving through the shot.
By page 10, i would’ve liked to see the girl gaining on them, or at least starting to follow again. She kind of suprises me that she’s suddenly caught up.
I love 65 and 66, antic and push reads great.
and 67/2-4, great job on rolling the dog over.
74/2 to 76, did she swallow him? I get it, but I wanted to see something more before it cuts to her mouth closed.
Ok. Thats it. I don’t know much about storyboarding, but i hope this is constructive for you, Jim. Keep it up!
People may rip on me for public crit. Sent email. Rip me there:) Good stuff Jim!