I know I keep going on about the war scene I am still working on in Coal Republic, but it really is pivotal in many different ways. The success or lack of success on this scene determines the pattern of the rest of the film. The duration and methodology will make or break the completion time of the film.
The overall duration of this clip is important because it may be a cushion for the rest of the film. When storyboarding these scenes I had planned on each lasting 4 minutes. By doing this I was aware that if I had 10 scenes in the film, the final product would be 40 minutes, which is a minimum standard set by most agencies for a feature film. By aiming to extend the overall length of the battle sequence beyond that, I am allowing other clips to fall shorter if need arises. Also, the great things about a war scene is chaos. I story boarded the introduction to the clip and the conclusion, but a bulk of the action and violence in the clip was designed very much in the moment. There was no preplanning for those clips. Like in war, chaos rules the day. High action clips require a lot of drawings, which is the downside. The upside is that those clips are so fast that the clip accuracy of the drawings is not as important. Infact, messier work can in some ways contribute to the overall feel of that kind of action. Like nothing makes sense. Like the world is falling apart. Keeping the lines fast and loose allows for greater speed, but also more emotion. It also allows for more mistakes if they happens, as they are easier to hide in rapid, loose animation. Due to all of the sequences necessary, and all the cuts involved the sequence, though fast and loose, is still the most complicated. The establishment of a clear methodology to the animation in this project is also vital here. Doing the most complicated sequence first has the benefit allowing me to establish the method of patterns by which I will conduct my work the rest of the film. The difference here, is I’m doing 30 clips at a time with a total of around 60 to 90, as opposed to about 20 to 30 total clips per sequence through most of the rest of the film. It’s also important to note the most of those clips in the rest of the film require fewer drawings, as I am able to reuse and loop many of the clips through the sequence. None of this of course mentions the fact that my doing the most complicated sequence first, there’s a big psychological relief involved. Establishing a workable plan by which I can scan, color, cut out, and animate each sequence is easier to do when the work is more complicated because I know if that method works in this sequence it will only be easier and every other sequence. By choosing to do the most work first I am making the entire project easier on myself as I go along. The goal is to make as many mistakes as possible here, so they are not made later. I really hope this plan works in developing the field so that I can complete it in a short amount of time after this sequence is completed.
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Jacob FertigArtist, Educator, Activist, Micronationalist, et al. Archives
November 2019
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