Pre Production Panic

Due to the time limit of the clip, being only a mere minute long in duration give or take, I’ve found myself being over eager with the amount of information I’m trying to pack into story boards.
A Sheppard in the mid ground, and sheep in the fore ground, a shack in the background, and a footprint in the middle. It just feels like I’m cramming too much information into a single shot, so I’m going to rethink my layouts.
I’ve been going over John K’s blog, which I’m finding enthralling in a pre-production stage, but it’s a little disenchanting reading the amount of abuse 3d productions cop from traditional artists. Regarding layout and scene composition he writes
1) Extremely clear simple staging, focused on the gags.
2) One idea is presented at a time.
3) He sets up each main idea clearly first, then builds on the gag, making it more and more ridiculous.
I watched ‘Detective Droopy’ as a reference for gags related to characters not being able to make a sound. Feel very tempted to steal a gag or two, but I’m scratching my head in search for something original.
Rule of thirds is beginning to look quite mechanical, and I think when over used it becomes boring. I also find the rule confusing when taking into consideration the amount of characters in the scene. It seems impossible and cramped trying to fit two characters into one side of the picture.

The first Model of the Sheppard was far from functional, having a massive head and a tiny body made him extremely hard to move. The new version seems more operational but he’s a lot less cute then the first, and has a plastic dead feel to him at the moment. I always find it hard to project life into a 3d model when it’s staring blankly with dead eyes in its unnatural relaxed default position. I’ll have to tweak him around and start thinking of unique personality traits I can invest into the character.
The idea of the Sheppard always appealed to me, as the Sheppard must be both tender and strong. These two traits work well for a lawfully good aligned character, but I think perhaps there is more entertainment to be found in giving him an almost contradictory behavior. For example, the Sheppard could lovingly cradle his sheep, before ruthlessly using him as bait.
As for the Sheep’s personality, he is obviously nerve racked and terrified, but as the rivalry builds between the two he becomes seemingly more confident and cheeky, attempting to sabotage the Sheppard’s attempts at catching the monster.
The monster itself as I said, was written to be quite tragic similar to Grendel, but I don’t think this fits well into a gag focused piece. I had the idea of having him weeping and whimpering, then chuckling madly. Perhaps he works better as an antagonist without a personality, but we will see. He could even be quite gleeful in his behavior, over excited when he’s about to snag his lunch.
Music wise the clips mood seems to be a combination of comedy and suspense, but sadly none of my muso friends, as talented as they are, feel equipped to write music with only storyboards as visual aids, So music will have to be done in post. I’ll have to talk to them about tempo and beats, so I can attempt to animate to that as a guide.
Researching all revues for references, and using my old failed project as a visual guide at times.

Week 2 "Synopsis"

(scene 1) Footprint: The Sheppard and sheep stare down into the gaping footprint of a monster. The sheep is absolutely terrified, yet the Sheppard clenches his fist, as if to mention the grudge of an old score.

*The footprint disrupts the equilibrium.

(scene 2) Traps: Inside the shack, the Sheppard slides wood into a buzz saw. Documents and scale charts of the monster sit in the background.

*perhaps a diagram of the monster in a cage.

(Scene 3)Exterior Shacks: A mid shot of the house, and slow pan out. The sounds of hammering, buzz saw, welding. Light spilling out flickering across the hill threw the splintered timbers of the shack. A sign reads quiet please, until the monsters hand comes into the shot.

(Perhaps a shot that builds sexual tension between the sheep and the Sheppard, or doubles as the Sheppard’s sinister plan.) (a book on lamb?)

(scene 4) Bait: the sheep sits terrified in its pen. The monster approaches from behind, close but unable to sense the sheep.

Blind: A shot of the weeping, blind monster, which screams in agony.

Sneak: The sheep covering his mouth so as not to scream, attempts to sneak off screen. The cowbell around his neck jingles with his movement, to which the monster responds by facing the sheep.

Swipe: The monster attempts to grab the sheep, but by nimbly jumping forward dodges. The monster clears a row of fences instead. Timber rains down.

Bell: close up of bell

Sheppard: the Sheppard watches amazed, until the cowbell itself is flung into his hands. He is confused or bewildered for a second before panic, then anger.

Tug of war: Wide shot of sheep and Sheppard throwing bell to and fro, the monster follows but only his feet are in shot.

*pose feet as if his toes were groping, to help show threat.

(scene 5)Cliff: Sheep throws bell off cliff

( scene 6) Monster runs: shot of monster running

Phew: Sheppard wipes sweat from his brow. After a pause, much to his horror his cell phone starts ringing.

Final taunt: The sheep waves his own phone gleefully.

End: The monster stands perched over the Sheppard. He takes nervous steps back into one of the snares. Black with a sharp snap, the credits roll.

Week 2 "The Sheepeater"

The idea was that the equilibrium of the world was disturbed when the giant beast is blinded, and forced to seek easier prey, being incapable of hunting its natural food source. (But hopefully no scene here is necessary, as the Monsters back-story remaining unseen by the audience, and hinted at by it’s wounded gaping eye sockets will create intrigue. Though I should note that the creatures look will have to fit this if I don’t want the audience to simply dismiss and skim over the monster itself)



*A sympathetic monster works well to stir emotion if the monster dies, BUT he doesn’t, so it's behavior will be used mainly as an eye catching device. A little more interesting then your standard snarling mindless beast.

I have also added in a significant amount of rivalry between the Sheppard and Sheep, to spice up both characters with some tension. The sheep can cash in on cuteness and adorability for an easy laugh.

Week 1 "Eyes bigger than stomachs"

This is my second year working on the same project:

So many ideas I have frantically sketched down as of late, but all the while resonating “Do not bite off more than you can chew.” We are told strictly to not exceed a minute in duration. This is the deadline. Some suspect this time limit as being more of a strict guideline then a concrete rule, but it matters not. Costly the lesson was on the first attempt, and god willing I will not have to learn it a second.

The ‘ideas’ I speak of have to be axed as quickly as they are conjured it seems. It’s tempting to try and squeeze in as much story as desired, and in many ways we are encouraged to do so, but the fact of the matter is squeezing a three act structure into a minute long animation is a task requiring heroic efforts.

Originally the theme or the vibe of the first attempt was the idea of removing a creature from an ecosystem. Before you cringe at the over used ‘protect our dying environment’ themed clips, I was rather aiming for something that reeked of cause and effect, resulting in punishment. The idea of natural disasters being interpreted in many religious scriptures as ‘God’s anger’ fascinates me, and I think it is useful as an open ended theme.

However, vouching for a more simple approach...