Yep - this is much more 'on message' don't you think? In terms of thinking about directing your action (and don't let this advice send you spinning into some kind of oblivion) remember what you've learned/observed in previous projects and in all the films we've watched together: for example, it seems to me that your film is crying out for a change of camera on 'nimble feet' - so we cut to those 'nimble feet' and we're shown them as the Butterly points his toes or whatever. Listen to your script and think about your camera - again, for example - on 'Look closely' - imagine a sort of soft 'crash zoom' towards the butterfly, as if the camera is noticing him amongst the crowd of flowers and zoning in towards him. I think there are lots of opportunities here for camera movement as implied/instructed by the emphasis of your script. I'm saying here what I'd likely say at the pitch - so good actionable advice - if you can't get to all of this before the pitch, don't let it take the wind from your sails - instead, as you put the back end of your film together, try and think about the camera a little more and all that it can give you in terms of on-screen punctuation.
i'm going to finish the animatic and see where i'm at in terms of time before adding in those changes i think. i did have those thoughts as i was watching it back though .
I like it. It seems very quiet though.
ReplyDeleteYep - this is much more 'on message' don't you think? In terms of thinking about directing your action (and don't let this advice send you spinning into some kind of oblivion) remember what you've learned/observed in previous projects and in all the films we've watched together: for example, it seems to me that your film is crying out for a change of camera on 'nimble feet' - so we cut to those 'nimble feet' and we're shown them as the Butterly points his toes or whatever. Listen to your script and think about your camera - again, for example - on 'Look closely' - imagine a sort of soft 'crash zoom' towards the butterfly, as if the camera is noticing him amongst the crowd of flowers and zoning in towards him. I think there are lots of opportunities here for camera movement as implied/instructed by the emphasis of your script. I'm saying here what I'd likely say at the pitch - so good actionable advice - if you can't get to all of this before the pitch, don't let it take the wind from your sails - instead, as you put the back end of your film together, try and think about the camera a little more and all that it can give you in terms of on-screen punctuation.
ReplyDeletei'm going to finish the animatic and see where i'm at in terms of time before adding in those changes i think. i did have those thoughts as i was watching it back though .
Delete