Thursday, 10 March 2011

Major Project: Planning out a monologue sequence.

Having spent the day so far going back and looking at animations such The Tell Tale Heart and The Hangman as well old films, I think its time to get this ball rolling. One thing I noticed about the two animations is the that they aren't afraid to NOT animate something, allowing the mood, camera narration and imagery bring it to life instead. I'm am quite frankly an awful character animator and need to find ways to counter this. Obviously those films and La Jetee clearly prove you don't need intricate movement or animation. Knowing and believing this approach works makes me a lot happier for the outcome of my own animation. I get the feeling I'll be producing an elaborate animatic more than anything. Of course still lovely and hand-crafted none the less.

The hardest part in terms of visualisation are the sequences involving dialogue or a monologue. The first one up is sequence where Dorian makes his faustian pact with the painting. I've thought about how I can portray each shot of this sequence. I will roughly storyboard this sequence for my own use, but I think the improvisational nature of how I'm going produce this animation is a lot of the appeal of the production process:

"How sad it is!" murmured Dorian Gray (SHOT OF DORIAN APPEARING IN DOORWAY)

with his eyes fixed upon his own portrait. (CLOSE UP OF DORIAN EYES)

"I shall grow old, and horrible, and dreadful. ( SHOT OF DORIAN'S HAND, THREE SEPERATE SHOTS, SKIN CHANGING COLOUR/TEXTURE ON EACH WORD)

But this picture will remain always young. (FULL SHOT OF PORTRAIT)

If it were only the other way! If it were I who was to be always young, and the picture that was to grow old! (SIDE ON SHOT OF DORIAN AND PORTRAIT TOGETHER)

I would give my soul for that!” ( EXTREME CLOSE-UP OF PORTRAIT EYE. DORIAN VISIBLE IN REFLECTION. SLOW PAN TOWARDS PORTRAIT. BLACK)

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