After my post about extra drawings in the storyboard (No. 111, When the Storyboard Artist Is Also the Animator) I found myself continuing to work in real time with those drawings, and I decided I wasn't entirely happy with them. Sometimes you have to tell yourself to let something go so you can get on to the end, but in storyboarding, if it isn't right, it must be fixed. If a pose or a gesture or a camera angle isn't right, you may not be telling the story in the clearest way; you may not be connecting with the viewer. To ignore the opportunity to improve things in storyboarding is foolish, because this is the last stage when changes can me made cheaply; as experienced animation film makers know, changes in the animation stage or after can be disastrously expensive.
During storyboarding, you actually have the luxury of what a live action director would just call a second or third take. You can say to your character, in effect, "Let me see you do that again, and this time get it more this way or that way." You thus direct the character: you draw it over and see if you can make it better.
Of course, this extends my metaphor that the independent animator is the director, and the animator, and the storyboard artist, and the inbetweener, and just about every other role in production. In this case, you are the director talking to the actor (you again) about the character (you yet again.)
The example I will show you here is at the climax of a whole sequence, when the Old Man reveals the overcoat that he has pulled out of his trunk. Here is the first "take" of that shot, in two storyboard panels.
I found these poses to be wimpy and not sufficiently dramatic. So I spoke quietly with the Old Man (in my head) and then I had him do a second "take."
Importantly for the animation, there is now more change between the first and second poses.
During storyboarding, you actually have the luxury of what a live action director would just call a second or third take. You can say to your character, in effect, "Let me see you do that again, and this time get it more this way or that way." You thus direct the character: you draw it over and see if you can make it better.
Of course, this extends my metaphor that the independent animator is the director, and the animator, and the storyboard artist, and the inbetweener, and just about every other role in production. In this case, you are the director talking to the actor (you again) about the character (you yet again.)
The example I will show you here is at the climax of a whole sequence, when the Old Man reveals the overcoat that he has pulled out of his trunk. Here is the first "take" of that shot, in two storyboard panels.
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| Having failed to tug the garment out with just one hand, the Old Man gets a good two-handed grip (image 1) and pulls hard (image 2). |
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| Now as he gets his grip, the Old Man is a more interesting silhouette, and he is coiled like a spring (image 1). This time when he pulls hard (image 2), his torso twists, the violent motion throws him out of balance, and he will clearly have to take a step or two backward if he is not to fall down. |
I want to note that it is interesting to work with a character like this who has some physical limitations and therefore cannot perform all the vigorous variety of moves of a younger character who is in good shape; his back must always be bent, and any violent movement may cause him to lose his balance or even hurt himself. Mostly, though still strong, he must move slowly and with caution.
I have gotten very fond of this old gentleman, and I look forward to doing him justice when I get into the animation.