Wednesday Nov. 4th 2009

[Dave]

Don is back so we'll start the seminar off with some of the questions from last week.

[Dave]

Hi Don,

I have a question about storyboard process in regards to recording dialogue.

1. At what point in this process do you record the dialogue with the voice actors? Does this happen directly after creating the script?

It would make sense that you would need the voice before you create the final boards because the tone in the voice and the characters personality could change the poses and acting.

2. However wouldn't you need at least some rough boards before you start recording dialogue so you can get the sign off from other team members / other parties?

3. What is Bluebooking exactly? Making sure the scenes hookup correctly?

http://i127.photobucket.com/albums/p143/robertow/flowchart.gif
Answer to follow:

[Dave]

Hello Mr Bluth,

i hope you recover soon. My best wishes for your health.

I have a question relating story ideas.

i would like to make a short animation movie with an interesting unique story.
perhaps something personally that comes from me.
but my problem is i don't know where to start.
could you give advice in the process of finding ideas to tell a story ?
I wonder what are the elements which make a story poetic ?

thank you and goodbye
Answer to follow

[Don Bluth]

Answer to follow:

Ideally, you have already drawn a few thumbnails or sets for your movie and have a pretty good idea in your head about what you would like to see on screen. I think the best way tpproceed is to record the script before you storyboard based on your head vision. The actors will bring wonderful moments to the script that you will not imagine. This will be a tremendous inspiration for the boarding process. You will not be able to proceed with this method if there is studio executives involved in the production. They will want to ok the storyboard before you spend money on the voice talent.

Bluebooking is a record off all the scenes in continuity throughout the entire picture. All the details that make up each scene are noted in the bluebook so that every department knows what they will be adding to the scene.

END

[Don Bluth]

Answer to follow

Telling a short story is similar to telling a joke or anecdote. There is an introduction of the characters and a conflictand a final resolution which is like a punchline. You should want to tell a story which will grap your listeners attention. There are many books written on this subject. See Donna Lee's "Magic Methods of Screenplay Writing."

END

[jtq3]

Welcome back Don. Hope you are tip top!
Is it ok to post questions or seek input pertaining to our CGP scenes?

[Don Bluth]

Welcome back Don. Hope you are tip top!
Is it ok to post questions or seek input pertaining to our CGP scenes?

Absolutely... Fire away!

END

[WillW]

Hi don, great to hear your well! I managed to complete my scene just in time before the deadline, I did have to end up animate the rabbit using a tablet but I think the results came out reasonably well still.

http://www.donbluthanimation.com/videos.php?showvideo=242

[Don Bluth]

That sucks, hope you get better Don. :)

------

Question for Thursday;

Now that the CGP is over, I plan on working on your bouncing ball DVD.

Here is my attempt at the bouncing ball tutorial.

My own critique;

1.) I didn't use side guidelines so my ball is a bit wobbly/all over the place. (My next test I am starting from scratch, with guidelines.)

2.) I got confused on the dvd. The first bouncing ball you explained was 32 frame cycle. Then the first one with the pig was a 25 frame cycle. So I got a bit lost. (My next test will be better.)

3.) I recycled the frames, so when he is going down, those are the same as going up. (Next time will be all frames, no recycle. I did not see a point of finishing the cycle which was already broken, better to just start over.)

In all honesty, I probably shouldn't of shown you this until I tried again...

Am I right in all my assessments? Anything else you might see i forgot or did wrong or should think about? I plan on doing this tutorial until I get it right!

http://www.donbluthanimation.com/videos.php?showvideo=247
You should be very pleased with this test. It is entertaining and you have demonstrated several animation principals. Good Show!

END

[arif]

Welcome back sir...and hope you are well
i have completed my Sasha`s walk with an anticipation...here it is..

http://www.donbluthanimation.com/vid...?showvideo=227

and

here is my scene?I have added some more little action to increase Sashas walk after 252 frames?.i mased up with the numbering?.at least , I have finished my scene?..

http://www.donbluthanimation.com/videos.php?showvideo=253


Regards,

Arif.:)

[Don Bluth]

Hi don, great to hear your well! I managed to complete my scene just in time before the deadline, I did have to end up animate the rabbit using a tablet but I think the results came out reasonably well still.

http://www.donbluthanimation.com/videos.php?showvideo=242

The scene is very good and we will cut it into the reel. I especially like the animation on Sasha.

END

[lavallelee]

http://www.donbluthanimation.com/videos.php?showvideo=248

Hey Don, I did a small horse test, wondering what you think. This horse is from a Disney movie. the first 3 drawings were drawings I found in a book, the rest i came up with.

[Don Bluth]

Welcome back sir...and hope you are well
i have completed my Sasha`s walk with an anticipation...here it is..

http://www.donbluthanimation.com/vid...?showvideo=227

and

here is my scene?I have added some more little action to increase Sashas walk after 252 frames?.i mased up with the numbering?.at least , I have finished my scene?..

http://www.donbluthanimation.com/videos.php?showvideo=253


Regards,

Arif.:)
Arif, the first link is a dead link.
http://www.donbluthanimation.com/vid...?showvideo=227

Your rough test is entertaining and shows you understan some animation principals. Finish it up and lets cut it into our reel. Please remember no held drawings; keep both characters alive.

END

[madanimator]

Hi Don!
It is said that a combination of straight ahead and pose to pose is the best way to do an animation. But does it mean you do the key poses straight ahead and then add the inbetweens pose to pose or do the key poses pose to pose and add the inbetweens straight ahead, or what does it mean exactly?

[Don Bluth]

http://www.donbluthanimation.com/videos.php?showvideo=248

Hey Don, I did a small horse test, wondering what you think. This horse is from a Disney movie. the first 3 drawings were drawings I found in a book, the rest i came up with.

I appreciate your enthusiasm but trying to be entertaing without the character's eyes is almost impossible. I haven't a clue what the character is thinking or feeling. Animation is about giving the illusion of life. Do not be side tracked by simply getting drawings to move.

END

[jtq3]

http://www.donbluthanimation.com/videos.php?showvideo=252

this should go without saying but, the more time I spend struggling through the scene the more I learn. I do believe I rely heavily on flipbook. I work out poses and then work out timing in the program. I hope a better understanding of timing and spacing will develop but for now, the program helps a great deal.
I haven't had am recent opportunity to hear your feedback on the scene. In your last review, you had an issue with Momma Rabbit kicking the fox. At that time I believed my work was still to loose and I set out to clarify my intentions by cleaning up the drawings.
I have added a moving hold on the fox after he hits the ground. Momma Rabbit enters and kicks the fox, catches him while in mid-air and they both slam to the ground.
I wonder if you can take a look at the scene and offer any input on the successes/failures. I recognize the overall complexity of the issue but, is there any "rules of thumb" on timing and spacing?

[lavallelee]

I appreciate your enthusiasm but trying to be entertaing without the character's eyes is almost impossible. I haven't a clue what the character is thinking or feeling. Animation is about giving the illusion of life. Do not be side tracked by simply getting drawings to move.

END

Understood.

Here are some Grumpy drawings I did I would like your input on, anything i can improve, anything i should think about.

http://4mchan.org/Forum/gallery/2_31_10_09_8_52_04.jpeg

http://4mchan.org/Forum/gallery/2_01_11_09_8_15_00.jpeg

[Don Bluth]

Hi Don!
It is said that a combination of straight ahead and pose to pose is the best way to do an animation. But does it mean you do the key poses straight ahead and then add the inbetweens pose to pose or do the key poses pose to pose and add the inbetweens straight ahead, or what does it mean exactly?

Animating straight ahead is a successful approach for some animators. Even with this method, there will be inbetweens to slow down parts of the action. I find that posing out the scene and working from pose to pose is a much better way of controlling the timing. Many times, a director will not allow the animator to increase the footage length of his/her scene. With that in mind, the latter method, pose to pose, is preferable.

END

[madanimator]

If you have some time, it would be great if you could have a look at my first Demo Reel: http://www.vimeo.com/7247900
I made it for the application for an internship.

[OwenWelsh]

Hi Don,

I'm glad you are feeling better.

Is the best way to plan out subtle slow movement pose to pose or straight ahead?

[Don Bluth]

http://www.donbluthanimation.com/videos.php?showvideo=252

this should go without saying but, the more time I spend struggling through the scene the more I learn. I do believe I rely heavily on flipbook. I work out poses and then work out timing in the program. I hope a better understanding of timing and spacing will develop but for now, the program helps a great deal.
I haven't had am recent opportunity to hear your feedback on the scene. In your last review, you had an issue with Momma Rabbit kicking the fox. At that time I believed my work was still to loose and I set out to clarify my intentions by cleaning up the drawings.
I have added a moving hold on the fox after he hits the ground. Momma Rabbit enters and kicks the fox, catches him while in mid-air and they both slam to the ground.
I wonder if you can take a look at the scene and offer any input on the successes/failures. I recognize the overall complexity of the issue but, is there any "rules of thumb" on timing and spacing?

Two things come to mind immediately: The momma rabbits entrance is too mushy/slow. It lacks energy. Additionally, the moment the rabbit sees mamma fox and halts in her attempt to hit the fox, it does not have enough surprise in the action. It neets a good "Take." You need a special drawing to register the surprise on her (Momma Rabbit) face.
On a positive side, your scene is much improved and is entertaining.
Rule of Thumb questions are way too general in this case. The best I can do here is point you in the direction of the entertainment of your scene. It is not a good scene unless it entertains.

END

[arif]

Arif, the first link is a dead link.
http://www.donbluthanimation.com/vid...?showvideo=227

Please remember no held drawings; keep both characters alive.

END

Thank you Sir....i am sorry about the dead link..it was sash`s walk only.....
could you tell me later in which frame to which frame i will have to work..(sorry my dumb question)it would be great help for me....

Regards,

Arif:o

[jeremyhopkins]

Hi Don, have a note here from johncbeggs:

Hey jeremy, I am wondering if you are able to show Don my scene and tell him that I finnished it and ask if it is acceptable! I would really appreciate it.
http://www.donbluthanimation.com/videos.php?showvideo=241

I'm glad to see you back!

[Don Bluth]

If you have some time, it would be great if you could have a look at my first Demo Reel: http://www.vimeo.com/7247900
I made it for the application for an internship.

While watching your reel, I enjoyed the dance scenes the most. I'll offer you a constructive criticism: Each scene involving a new character should also involve an entertainment that should make us laugh or smile. Please remember, that merely showing that you have the ability to move the shapes around is not your goal as an animator. Your goal is to make us see something in your scene that makes us react. You must be an entertainer; watch comic routines out of Charlie Chaplin or Harold Lloyd. There is always a visual punchline. This will make your future employer want you on board.

END

[Don Bluth]

Hi Don,

I'm glad you are feeling better.

Is the best way to plan out subtle slow movement pose to pose or straight ahead?

The best way to plan subtle, slow movement is pose to pose.

END

[jtq3]

Excellent. I will tighten up Momma entrance. I did fuss over her initial impact and clearly have too many frames in there.
In the storyboard (drawing #50), the characters react to Momma Fox's growl off screen but in the animatic, her growl comes after drawing #50. It would help me to have a frame # against which the two characters may react. Or am I missing the point or over thinking it?
May I assign the growl to a moment at the end of the scene and work toward the "surprise" in the action?
I figured as much on the "rule of thumb" question but, thought I'd give it a shot anyway.

[Don Bluth]

Hi Don, have a note here from johncbeggs:


I'm glad to see you back!

The action on the body of the owl looks good but the wing action is still not working. I've seen you execute some pretty fabulous drawings. I'm puzzled why the wing action is weak. Fix the wings and submit another test and we will cut this into the reel.

END

[OwenWelsh]

Hi Don,

After working on scene 38 for a while and shooting a few tests based on my pose test it has become apparent that my poses and movements may be too broad for the dialogue "Do you want to be fried, or roasted?" It feels like it isn't matching. Do you envision this scene with broad quick movements or slow subtle movements? I may need to start over...

[Don Bluth]

Thank you Sir....i am sorry about the dead link..it was sash`s walk only.....
could you tell me later in which frame to which frame i will have to work..(sorry my dumb question)it would be great help for me....

Regards,

Arif:o

We will give you detailed notes on Thursday.

END

[WillW]

The scene is very good and we will cut it into the reel. I especially like the animation on Sasha.

END

thanks! I'm very glad you liked it. I know its after the dead line and all but would it be ok if I asked to work on another scene not allocated yet? if not then that's perfectly fine.

[Don Bluth]

Excellent. I will tighten up Momma entrance. I did fuss over her initial impact and clearly have too many frames in there.
In the storyboard (drawing #50), the characters react to Momma Fox's growl off screen but in the animatic, her growl comes after drawing #50. It would help me to have a frame # against which the two characters may react. Or am I missing the point or over thinking it?
May I assign the growl to a moment at the end of the scene and work toward the "surprise" in the action?
I figured as much on the "rule of thumb" question but, thought I'd give it a shot anyway.

Get the action of your scene to work. We can shift the position of the sound effect to whatever place you want it.

END

[jtq3]

thank you. i will fix it.

[Don Bluth]

Hi Don,

After working on scene 38 for a while and shooting a few tests based on my pose test it has become apparent that my poses and movements may be too broad for the dialogue "Do you want to be fried, or roasted?" It feels like it isn't matching. Do you envision this scene with broad quick movements or slow subtle movements? I may need to start over...

Taste is a very individual thing! Personally, I prefer subtlety. How would Kathryn Hepburn read this line versus an actress like Phyllis Diller. Subtlety allows you to place broader accents in the phrasing of the dialog for emphasis. Study the wicked stepmother from Disney's Cinderella. I'm thinking of the scene where she is in bed giving orders to her step daughter.

END

[madanimator]

While watching your reel, I enjoyed the dance scenes the most. I'll offer you a constructive criticism: Each scene involving a new character should also involve an entertainment that should make us laugh or smile. Please remember, that merely showing that you have the ability to move the shapes around is not your goal as an animator. Your goal is to make us see something in your scene that makes us react. You must be an entertainer; watch comic routines out of Charlie Chaplin or Harold Lloyd. There is always a visual punchline. This will make your future employer want you on board.

END

Alright! Thank you for that advice, Don!

[Don Bluth]

thanks! I'm very glad you liked it. I know its after the dead line and all but would it be ok if I asked to work on another scene not allocated yet? if not then that's perfectly fine.

I'm currently setting up some animation exercises that will satisfy your request. I should be able to pitch them to you soon.

END

[Don Bluth]

Thanks for your participation and I'll talk with you tomorrow.

Don

[lavallelee]

Thanks Don! Can't wait for the animation exercises!

[OwenWelsh]

Taste is a very individual thing! Personally, I prefer subtlety. How would Kathryn Hepburn read this line versus an actress like Phyllis Diller. Subtlety allows you to place broader accents in the phrasing of the dialog for emphasis. Study the wicked stepmother from Disney's Cinderella. I'm thinking of the scene where she is in bed giving orders to her step daughter.

END

I personally would prefer this also. I don't feel like its working as well as I hoped. The action is too broad. With a bit of study I will shoot a new pose test soon. Thanks for the suggestions. :)

[Gabriel-Carson]

hi Mr. Bluth,

i am glad to see your feeling better (well i hope you are) :)


Mr. Bluth did you script banJo the woodpile cat? or Just story board?

have you ever worked with out a scipt like Miyazaki does?


when will we start the next cgp? will i be able to participate while still working on my scene (I am very excited on seeing what you have to say in our P.A.M sesion :) )

[Richard Willimot]

Hello Don,glad to see you're over the bug :) I was wondering if i could get your advice on this scene. http://www.opendrive.com/files/5700201_5jtN2/pupjump2.mov

[arif]

Thank you Don for giving us the time..and really cant wait to see some more exercises....

Regards,

Arif:)

[WillW]

sounds very interesting! I look forward to them c:

[macprofilms]

This is great stuff!!!! I love the kid with the hair going up and down. The mouse is wonderfull and the moose is great too.

Mike

[johncbeggs]

The action on the body of the owl looks good but the wing action is still not working. I've seen you execute some pretty fabulous drawings. I'm puzzled why the wing action is weak. Fix the wings and submit another test and we will cut this into the reel.

END

Okay Don I will, Ill get it done soon :D, Im back in the club!