to do is start creating those storyboards. I have done a few already as practice to get proficient at it.
These need to be done and assembled as a video storyboard, where audio is also added.
This should essentially show the whole film.
to do is create some of the short scenes and try perfect them as much as possible, to see potential quality, understand efficient techniques to become proficient!
The general colours for each scene need to be completed. This will give us a more clear vision of the film.
The film's music needs to be explored and quite developed here; although a lot of the music can be done later.
That's pretty much it.
A solid 15 to 40 minutes or longer in length... It is dependent on our story!
I would love for it to be at least 40 minutes, being of a theater film standard.Innovation:
We are bringing some new things to the table. I believe I have quiet a top skill of finding the synergy
between things. I plan to make all fight scenes an extremely important part of the film. Stories are told within fights, and the characters are trying to do the best possible move at all times. I don't want any parts where one could say, '...he could of done that earlier' or ' he should of done this... and it would of been easy' or ' that fight didn't really do/add anything, it was simply showing off. It simply chose a character as the winner'*
When objects are in motion they may be motion blurred, smudgy, stretchy, compressed perpendicularly, etc. many ways to animate fast movements. Here is a small test I did- i.imgur.com/SWa8Kjw.gif
I show how the line art itself can change. There are other experiments I have done, and many more I want to do.*
Explore 5 beats per bar music. Check out Akeboshi - Wind . This is the only good example I can find. I have freestyled on the piano some nice sounding pieces of 5 beats per bar. It's unique, emotional, epic.*
Not many hand-drawn animation films use the aspect ratio that we am using. This is more wider. This allows for different unique compositions. For example, I may have a close shot of a character's eyes where you can also see a bit of the background, but for other animation films- they may not have been able to show a bit of the background. I've done quite a bit of story-boarding, and can say that this is a small thing.*
With 4K resolution we can show a lot of details, and/or we can show 'brush strokes' if one was to look close enough.*
As we are not using our Earth as the world, we can explore different life forms, geographical structures, different physics. This is something I haven't explored much, and am siding away from.*
All pieces of technology within the story will be engineered/designed to appear legit. The way they are animated to work will be an engaging creative and technical experience for viewers. I often see technical parts in movies, where viewers feel that it is quite interesting and challenging in a good way and as a result it is deeply engaging. There are heaps of innovative things. (That's part of life!)Here are some quotes by Hayao Miyazaki:
‘If there is a hill over there , you will wonder what you would be able to see if you climbed it... This sort of work is the foundation required to establish the setting.’ pg 35 STARTING POINT 1979-1996
‘...Live with more poverty, more discipline, more intensity
Raise the standards for everything within oneself
...This Generation looks with suspicion upon revolution, romance, love, great ideologies’ pg 265 STARTING POINT 1979-1996
‘To me, the most interesting thing about real cartoon films is that you create a world, you fully exploit the space in it, and then you create the logical structure of a beginning, a development, a twist and a conclusion. This is the most fun to watch, and what I find motivates me the most. Cartoon films are fake. And because they’re fake, you can tell a big fib, but I always like it when it seems like there’s also a bit of truth in the fibs. I’ve recently come to the conclusion that I’m not very good at lying though, and that I’ll have to work on it so I can tell a great big lie someday.’ Pg 309 STARTING POINT 1979-1996
‘Young people these days are growing up at a time, different from the past, when it is hard to see what is to come. I am sure that some of them will recognize the flimsiness of the current ways of expression and want to make films, not “anime.” They should never give up their efforts to create new, compelling characters, and they should always challenge themselves to depict humans with greater universality and depth. But this is totally unrelated to Japan’s animation industry spreading through the world.’ Pg 72 TURNING POINT 1997-2008
A requirement to join the fun:
Visual art ability: take a look at my art gallery here on DeviantART. It would be preferred if you are around my level or greater. The skill of creating a composition is important, and so is the skill of good judgment.*
Advisory: Skill of good judgement, can tell what doesn't seem right ('If it doesn't seem right; it isn't.'
), how to make little or big things better. All advice is appreciated. Preferably if you have viewed a lot
of media, and many different types of media.*
Scene art/Scene Designer: trees, plants, flowers, clouds, mountains, grass, etc.*
Costume designer: I will have these nailed down, but would love someone to discuss, explore, collaborate with.*
Musical talent: able to compose and produce great music.*
The ability to create and contribute to the story itself is massive for me.*
Great animation skill: simple yet perfect main/key Animation/Image sequences, or small animations such as birds flying or leaves blowing in the wind. Filler animation frames, improving key frames, make the animation longer with more content. Slow-motion animation scenes which requires a lot of frames only changing a little bit by little bit.
Special effects: Better than the average AMV person, particle and magic effects, 3D skills. *
Sound effects: Need to ensure your sound samples are all copyright free. You either create or record (This is fun
) them yourself or find free ones.Other people so far:
I have a few friends that I discuss with (special thanks), but nothing solid.
I am located in Perth, Australia. You may be located anywhere.
The only parts we can publicly share is concept art, promotional pieces, trailers, previews.
The Screenplay and Storyboards will be strictly forbidden. Concepts may eventually tighten up on the security/privacy.Financial plans?
I think if we can eventually pull together a solid trailer, we could potentially get crowd funded or sponsored by companies. With funding, we can focus on the project a lot more. It can also help with getting more resources. And can potentially lead to future projects.
I'm hoping to do some work as a mechatronic engineer in the near future. I will than be using my money earned to get people to freelance work for me, probably doing mostly background art, animation, colouring.
Thanks.Please NOTE me your details if interested, or private message me on facebook- www.facebook.com/skillskillfir… , or send an email to firstname.lastname@example.org