Wednesday, March 11, 2009
Tuesday, March 10, 2009
Monday, March 9, 2009
Production Documents: Part C
Proposed Schedule
Week #01
-Make final edits to animatic, production design and art direction.
-Shoot high speed/stop motion photography for Shot #06
-See if the above step worked correctly. If it didn't, shoot again during Week #02.
-Assemble cut-outs necessary for Shot #04 and Shot #10.
Week #02
-Take individual frames for Shot #06 into Illustrator for augmentation. Composite everything together in After Effects. See if it works.*
-Animate cut-outs designed during Week #01.
* This is contingent upon the shots taken during Week #01 working correctly. If they do not, everything will be pushed back by 1 week.
Week #03-Week #06
-2D rough animate the rest of the film using Flash.
Week #07-Week #10
-Clean up Flash animation.
-Composite stop motion animations with 2D.
-Fix what didn't work right the first time.
Week #11-Week #20
-Further enhance the whole piece.
Week #01
-Make final edits to animatic, production design and art direction.
-Shoot high speed/stop motion photography for Shot #06
-See if the above step worked correctly. If it didn't, shoot again during Week #02.
-Assemble cut-outs necessary for Shot #04 and Shot #10.
Week #02
-Take individual frames for Shot #06 into Illustrator for augmentation. Composite everything together in After Effects. See if it works.*
-Animate cut-outs designed during Week #01.
* This is contingent upon the shots taken during Week #01 working correctly. If they do not, everything will be pushed back by 1 week.
Week #03-Week #06
-2D rough animate the rest of the film using Flash.
Week #07-Week #10
-Clean up Flash animation.
-Composite stop motion animations with 2D.
-Fix what didn't work right the first time.
Week #11-Week #20
-Further enhance the whole piece.
Production Documents: Part B
Dialogue List
*Note: All dialogue is voice-over narration.
I used to think that new area codes equaled new existences, but everyone still has my contact information. There are no new highways when they all have rest stops; when everyone you know is just a thumbnail representation of every gesture you've ever made; every lie you've been told; every secret you've kept; every sad, lanky bartender who wanted to run away with you in an air-conditioned car. We'll admire the crackle of burning cigarettes in the dry Texas air. No one will notice; no one will care-except for the debt collectors. They always have a friend's phone number in case you conveniently disappear. He still lives in that city. I wonder if he's still sad. He'd probably be much less attractive if he isn't.
*Note: All dialogue is voice-over narration.
I used to think that new area codes equaled new existences, but everyone still has my contact information. There are no new highways when they all have rest stops; when everyone you know is just a thumbnail representation of every gesture you've ever made; every lie you've been told; every secret you've kept; every sad, lanky bartender who wanted to run away with you in an air-conditioned car. We'll admire the crackle of burning cigarettes in the dry Texas air. No one will notice; no one will care-except for the debt collectors. They always have a friend's phone number in case you conveniently disappear. He still lives in that city. I wonder if he's still sad. He'd probably be much less attractive if he isn't.
Production Documents: Part A
Shooting Script: Base-Communicate
Shot #01: ECU-Zoom in/Dissolve
A number 5 is set within a shape-oriented design. Zoom into the center of the 5, and dissolve
Shot #02: MS; low- Pan down/Tracking
Narration: I used to think that new area codes equaled new existences…
A clock radio is positioned on an elevated surface. It’s time face says “516.” A hand appears from outside of the frame, pushes a button on the radio, changing the numbers first to “617,” then to “828.” All three number sequences are representations of
Shot #03: MCU- Pan down/Tracking
The sheets of paper continue to fall. The radio is no longer in the shot.
Shot #04: CU-Dissolve
Narration: …but everyone still has my contact information. There are no new highways when they all have rest stops.
Focus on a single piece of paper, which has fallen to the ground. A hand holding a rubber stamp reaches in, and contacts the sheet of paper. It leaves the frame, and the paper is left with a mark on it. Three rows of symbols of street signs appear, forming one-by-one in a horizontal direction.
Shot #05: ECU; Animated Transition
Narration: When everyone you know is just a thumbnail representation of…
The three horizontal rows of street signs are replaced with three horizontal stripes, alternating black-white-black. They leave the screen in opposing directions.
Shot #06: CU; x/lo
Narration: …every gesture you’ve ever made; every lie you’ve been told; every secret you’ve kept…
Open with a cracked sidewalk. A woman walks down the street, and we see only her shoes and ankles. Three words appear as she walks: gesture, lie and secret.
*Note: This whole shot is executed utilizing pixelation
Shot #07: CU
Narration: (continued) every secret you’ve kept…
The word “secret” is left alone on the otherwise blank surface. It shrinks, until it is only a line, which then travels across the screen, transforming into the contour of a male figure.
Shot #08: CU; eye level-zoom in
Narration: …every sad, lanky bartender, who wanted to run away with you in an air-conditioned car.
We see only the man’s face. Camera zooms in to his left eye.
Shot #09: ECU
Narration: We’ll laugh at nothing, and use the bathrooms in under-stocked, dirty gas stations.
The man’s eye is the only aspect in view. Lines shoot from out of and around the contours, creating a map. A car rides over the lines, as symbols for United States Interstates appear.
Shot #10: CU
Narration: Admire the crackle of burning cigarettes in the dry
A fire appears as the road map fades. A hand holding a cigarette comes into frame. The cigarette is lit, and smoke appears. The hand moves out of frame.
Shot #11: MS-Animated Transition
Narration: No one will find us; no one will care-except for the debt collectors. They always have a friend’s phone number in case you conveniently disappear.
The fire fades, leaving only a smoke trail, which creates the form of a man and woman embracing. A wad of paper drops from off screen, and the woman opens her hand to catch it. She tosses it to the side. As it bounces off the side of the frame, it leaves a solid sheet which covers the screen.
Shot #12: CU-Animated Transition
Narration: (cont.) –except for the debt collectors. They always have a friend’s phone number in case you conveniently disappear.
Upon the solid-colored screen appears the image of Benjamin Franklin on the one hundred dollar bill. He blinks. The bill peels from the corner, covering his image, and leaving a solid-colored screen.
Shot #13: LS-Fade-out
Narration: He still lives in that city. I wonder if he’s still sad. He’d probably be much less attractive if he isn’t.
Lines form on the screen, creating a cityscape. They merge into one another, leaving only a single line, which shrinks to the ground.
Treatment/Influence
Treatment
Animation Direction
This film will be animated primarily in 2D, utilizing Flash. Such segments have been inspired by my recent viewing of much of the work produced by former Royal College of Art students, particularly Jonathan Hodgson, and his film The Man with Beautiful Eyes. Portions of this film will be shot using stop motion techniques, using both cut-outs and actual people. Reference to commercial director Pes is particularly prominent.
Art Direction
Being mainly 2D, this film will take on a linear quality. For work in the "in betweens," I have been, as of late, practicing the technique of blind contour drawing. Being a Sequential Art student as well, I find that many of my influences can be found in comic books, particularly the work of the Hernandez brothers on Love and Rockets. The majority of the piece will be executed using black and white values only, but brief moments of color will appear. As a former Fine Arts student, I am fond of referencing watercolor techniques for this purpose.
Cinematic Direction
Many of the shots in this film will be straight-on, however, I am keen to reference shots from older films, such as Carol Reed's The Third Man, as well as aspects of other productions featuring Orson Welles. The black and white film work of Jim Jarmusch, primarily Coffee and Cigarettes is appealing, as well. The intimacy of "gestural" shots (ie, hands, facial features) will be explored.
Synopsis
Connections are made through visual interpretations of vocally narrated prose.
An alarm clock displays images of United States area codes, and is then covered by falling sheets of paper, stamped with contact information after they hit the ground. Symbols for road signs appear on the screen, wiped out by black and white stripes, exposing the feet of a woman walking along a cracked sidewalk, as the words gesture, lie and secret move against her. The word secret is left alone, morphing first into a line, then into the outline of a young man. A closer view of one of his eyes, shows that lines delineating roadways and rivers are being formed from and out of it, eventually displaying a map. The map is then stamped by symbols for United States Interstate signs, as a car travels along the paths. A fire crackles on top of the image, and a hand reaches in to light a cigarette. The smoke from the cigarette forms an image of a couple embracing. A wad of paper falls from the sky, and the woman catches it. She tosses it over her head; it bounces, and wipes out the couple with a flat, solid color. The image of Benjamin Franklin on the one-hundred dollar bill appears on the surface of the solid sheet, which quickly peels over his likeness, revealing another flat, solid surface. Lines form, drawing a cityscape, which then merges into a solitary line. The remaining line shrinks, until it is no longer visible.
An alarm clock displays images of United States area codes, and is then covered by falling sheets of paper, stamped with contact information after they hit the ground. Symbols for road signs appear on the screen, wiped out by black and white stripes, exposing the feet of a woman walking along a cracked sidewalk, as the words gesture, lie and secret move against her. The word secret is left alone, morphing first into a line, then into the outline of a young man. A closer view of one of his eyes, shows that lines delineating roadways and rivers are being formed from and out of it, eventually displaying a map. The map is then stamped by symbols for United States Interstate signs, as a car travels along the paths. A fire crackles on top of the image, and a hand reaches in to light a cigarette. The smoke from the cigarette forms an image of a couple embracing. A wad of paper falls from the sky, and the woman catches it. She tosses it over her head; it bounces, and wipes out the couple with a flat, solid color. The image of Benjamin Franklin on the one-hundred dollar bill appears on the surface of the solid sheet, which quickly peels over his likeness, revealing another flat, solid surface. Lines form, drawing a cityscape, which then merges into a solitary line. The remaining line shrinks, until it is no longer visible.
Introduction
Base-Communicate
A Film by Stephanie Augello
Synopsis: A narrator reflects upon past perceptions, infatuations and journeys.
Treatment Summary: A narration-driven, experimental chronicle, associating stream of consciousness prose with transitionally consecutive animation.
Contact: svaugell@gmail.com
A Film by Stephanie Augello
Synopsis: A narrator reflects upon past perceptions, infatuations and journeys.
Treatment Summary: A narration-driven, experimental chronicle, associating stream of consciousness prose with transitionally consecutive animation.
Contact: svaugell@gmail.com
Subscribe to:
Posts (Atom)
