< Helpful links:
STORYBOARD: http://pinbuns.blogspot.co.uk/2015/10/narrative-storyboard.html
ANIMATIC: http://mstamp176.blogspot.co.uk/2015/11/narrative-project-animatic.html
SCRIPT: http://jackmwhite.blogspot.co.uk/2015/11/narrative-ravine-script-version-2.html
CHARACTER DESIGN:
http://jackmwhite.blogspot.co.uk/2015/10/narrative-fish-character-development.html
http://jackmwhite.blogspot.co.uk/2015/10/narrative-few-more-refined-thumbnails.html
http://jackmwhite.blogspot.co.uk/2015/10/narrative-fish-character-thumbnails.html
ENVIRONMENT DESIGN:
http://garrisonimpala.blogspot.co.uk/2015/11/narrative-environment-concept.html
http://garrisonimpala.blogspot.co.uk/2015/11/environment-concept-art.html
http://garrisonimpala.blogspot.co.uk/2015/11/after-brief-discussion-about-route-we.html
http://garrisonimpala.blogspot.co.uk/2015/10/narrative-project-production-art.html
http://garrisonimpala.blogspot.co.uk/2015/10/narrative-project-concept-2.html
http://pinbuns.blogspot.co.uk/2015/10/narrative-colour-comps.html
Forge / Ravine
ReplyDeleteI’m not sure what I’m supposed to think about Ravine. As an exercise in aesthetics, it all looks rather beautiful. As an exercise in directing the audience to feel certain things about the action, it is a more mysterious affair. Are we supposed to be championing the second fish in his escape? Are we supposed to feel sympathy for the first fish? There is a sense of existential inevitability here – life is tough, some win, some lose – but likewise no sense of drama or peril. I am not invested in these characters – I watch them dispassionately – as dispassionately as the fish who swims away at the end, leaving the other fish entombed. Is this a story about choosing between entanglements and freedom? It does seem cold in this respect, especially as the fish that becomes entangled so hopelessly is victimized by circumstance, as opposed to bringing the situation upon itself.
In light of this impression, I wonder if there is a mismatch in terms of art direction? The very full colour Pixar-like concept art – soft and rather magical – seems too engaging for audiences if the mission is to keep things cool and distant and stand-offish. The ‘more artificial’ more ‘deconstructed’ aesthetic of the storyboard itself seems better equipped in this way. I don’t see why time and effort need be expended on turning this underwater world into ‘more’ of a reality when the film doesn’t seem interested in transporting us into an immersive story. I’d embrace the more arthouse element of the drawn aesthetic and the pared down use of environment and simply admit in this way that your story is symbolic and a representation – something slight, something fleeting, and more of an impression – PG
Having showed your animatic to an ‘uninducted’ audience it was evident that they didn’t fully understand your story. Mainly due to being confused about whether there were one or two fish for a large portion of the animation. A further comment was also made about how ‘bleak’ the animation was. In terms of fixing these issues a simple clarification between the fish (colour / shape) will help with the reading of the animatic. In terms of the ‘bleakness’ this is a directorial choice and perhaps a choice the group is intentionally putting forward. That said the colourful artwork does suggest something more optimistic, emotional, and more character driven. I’d suggest considering this juxtaposition going forward…perhaps you may need to alter the designs to suit the cold theme (simpler / stylized) or use the colourfulness to enhance the bleakness. In either case ensure that you know what you are making and giving to the audience. Greenlight. - AP