the Plausible Impossible
- Name: Rusty Mills
- Location: Los Angeles, California, United States
Rusty works in the animation industry doing Storyboards, Timing, Animation and Directing. Recently he has worked at Disney TV Animation and Universal Animation Studios. He's best known for his Directing and Producing for Warner Bros. on "Animaniacs" and "Pinky and the Brain".
Tuesday, September 19, 2006
Monday, September 11, 2006
Staging and Story pt 2
To the right is an alternate staging for the same scene. It gives the boy a chance to act and it's easy to tell right away what the scene is about. I would probably add several panels of acting in this same staging.
Now you don't always have to be so blatant as this but it works. The best would be a combination of the two shots presented here. Start with the boy and cut to the mom's reaction. Even better would be to have the boy turn away from the mom in the shot where we see the mom. This could give him some good acting where he is making outlandish excuses that we know are lies. Then the mom could call him on it.
Some board artist also tend to misinterpret things like Over-The-Shoulder (OTS) shots, thinking in means the foreground character has their back to the camera and the character in the background is facing the camera. It really just means that one character is in the foreground(possibly partially cut off by the edge of the field) and the other in the background (or other action is in the background). Try to think of alternate ways to stage a scene so it's clear. Sometimes even simple straight on flat staging will make the scene clearer and actually more interesting. Especially if you've been doing more dynamic shots one after the other.
Thursday, September 07, 2006
Staging and Story
1. Can I clearly see what is going on?
2. Is the camera angle motivated by the story point?
3. Number of characters in the scene, do they all need to be here)?
4. Can I tell where I've been, where I am, and where I'm going?
5. Has the staging become too obvious?
Over the next 5 posts I will discuss each of these rules. There is not always one way to successfully board a scene or sequence but these rules should apply to any and all ways it is done. They are great to keep in your head or to post on the wall to constantly remind yourself. If you get stuck they also can help you get out of a bind. You should always fall back on the simplest way to fulfill the story point. You can always expand on that.
The story panels I have included here are from a test I did for Dreamworks. Each gives you a particular feeling even though you don't have the dialog. Besides the way they are dressed you can tell simply by the staging who the sarge is and who the private is. The downshot above is an interesting way of showing the sarge is addressing a platoon without cluttering the scene too much.
So get ready for some storyboarding 101!
Tuesday, September 05, 2006
An American Tail
Though it is a short scene and my drawing skills have improved greatly there are some points about this scene that are worth looking at and reminding myself. Look at the weight that is due to both the timing and the poses. The slow start to his walk gives the feeling he's being pulled by his dad. There is a simple main action that takes place but other secondary actions and overlap were added later. These secondary actions give a life to the scene. His look back at the other passengers behind him gives a nice sense of a little boy.
Because the scene is so short he doesn't change his pose too drastically helping make the action and gesture read.
Sometimes it's good to look back at work you've done that either you like or others gave you a good response to. Analyze them and see what might be the reason they worked. It's easy to lose sight as to why a scene is successful. It's also easy to get wrapped up in deadlines and frustrations and lose the life the scene requires.