Eon (Trailer) Entry: Wade White

Become a member of the CGSociety

Connect, Share, and Learn with our Large Growing CG Art Community. It's Free!

THREAD CLOSED
 
Thread Tools Search this Thread Display Modes
  10 October 2006
OK...i admit...you surprised me!
the storyboard is very clear...and the scene cuts are cool and tell the story as it is! the eon logo is one of the simpler and cool that i have seen all around. I admit...you seem to be about to do a very very nice job...or maybe..G R E A T !
I will be back for sure to see more stuff...and...did you plan to post an animatic?
__________________
-OZ-

B-movie
 
  10 October 2006
Thanks for the encouragement, Oz! I only hope I can pull it all together (in the time provided) the way it looks in my head. I mean, I know I'll have something to submit, but getting all the animation done will be a real test. I wasn't joking when in my first post I said I'd never attempted anything like this before. I have no formal background or training (or work experience even other than my own playing around with software) in any of this stuff, so I'm definitely working on a huge learning curve here, but still enjoying every minute of it.

I've done up an animatic with music and the rough storyboards, but I've been trying to post the requirements for the challenge more or less in order (since they follow a logical progression). So I'm doing up the edited boards now (I'm aiming to post those next week), then I'll post the scratch track as an animatic to those boards and the music and SFX stuff will follow after. I imagine once I get the edited boards done the next couple of steps will come in fairly short order.
__________________
Even the wildest of dreams might be realized through the pursuit of attainable goals.

My Website :: My Sketchbook Thread :: EON Trailer Challenge
 
  10 October 2006
Best of luck

I agree timing is a problem especially if you want to fit as much in as you do. Myself I am planning more of a teaser trailer.



Personally I am finding I very interesting and useful seeing what you’ve chosen to include and what not to.

The audio will be a big challenge I think!!!


Best of luck

 
  10 October 2006
fendell - thanks! I spent a lot of time (and still am) thinking about what to include and what threads of the story to show in the trailer. For example, I left out any references to relationships in general (although in a movie version I would use the Patricia/Paul relationship as a central motivating factor for her actions), and I don't have any mention of the Jarts (although I'm still at this point considering popping in a quick shot or two of them; unfortunately they take a back seat for most of the novel, so I'm not entirely sure how one would go about bringing them into the mix of a movie without chewing up a lot of time for the rest of the story), or even of the various chambers and the singularity, etc, which are all big parts of the story. My decision was to pick out one central aspect--even if it didn't cover everything from what might go into a movie--and go mainly with that. I think (hopes) it results in a clearer statement being made.

As for the timing, I'm satisfied now with my second rough test animatic here at home that it will all fit in well enough and that there's even enough room for some more shots in the second half. A quick study of just about any recent action or scifi trailer shows that many shots and sequences roll by often in a matter of fractions of a second (depending on the intended pacing, of course). I'll hopefully be able to post the edited animatics by the end of next week and then people can give their input on how well it works.

The audio will indeed be a challenge, but for my part mostly just in tems of simply getting it recorded. I'm going to record a scratch track next week on what little equipment I have here at home (and it isn't much, let me tell you), but hope to maybe rent a decent mike or something for the final.
__________________
Even the wildest of dreams might be realized through the pursuit of attainable goals.

My Website :: My Sketchbook Thread :: EON Trailer Challenge
 
  10 October 2006
Originally Posted by fifty3dragons: fendell - thanks! I spent a lot of time (and still am) thinking about what to include and what threads of the story to show in the trailer. For example, I left out any references to relationships in general (although in a movie version I would use the Patricia/Paul relationship as a central motivating factor for her actions), and I don't have any mention of the Jarts (although I'm still at this point considering popping in a quick shot or two of them; unfortunately they take a back seat for most of the novel, so I'm not entirely sure how one would go about bringing them into the mix of a movie without chewing up a lot of time for the rest of the story), or even of the various chambers and the singularity, etc, which are all big parts of the story. My decision was to pick out one central aspect--even if it didn't cover everything from what might go into a movie--and go mainly with that. I think (hopes) it results in a clearer statement being made.

As for the timing, I'm satisfied now with my second rough test animatic here at home that it will all fit in well enough and that there's even enough room for some more shots in the second half. A quick study of just about any recent action or scifi trailer shows that many shots and sequences roll by often in a matter of fractions of a second (depending on the intended pacing, of course). I'll hopefully be able to post the edited animatics by the end of next week and then people can give their input on how well it works.

The audio will indeed be a challenge, but for my part mostly just in tems of simply getting it recorded. I'm going to record a scratch track next week on what little equipment I have here at home (and it isn't much, let me tell you), but hope to maybe rent a decent mike or something for the final.



You could also post "help wanted" in audio & music forums, where you'll find 16 billion music/audio guys hoping to get into a cool project.

Good luck!
 
  10 October 2006
Yeah, I thought about that possibility as well. I'm going to give it a try solo for now just because I really want the experience of doing it that way (it was one of the drawing cards for me to enter the challenge), but if I haven't found a decent audio solution by the middle of next month I may indeed have to look for help. But I can at least put together the scratch track for now.
__________________
Even the wildest of dreams might be realized through the pursuit of attainable goals.

My Website :: My Sketchbook Thread :: EON Trailer Challenge
 
  10 October 2006
Edited storyboards or 3D pre-visualization: Panels 1-3



PANEL 1: Okay, so back to the beginning again, eh? On this first panel I kept the black screen but cut the time down to just one second. Hopefully that's enough, and it'll have to do anyway since I realized very quickly in putting this together that time is of the essence in this little endeavour (90 seconds goes by very quickly). In fact, timing was the element that received the biggest overhaul in the first thirty seconds of the trailer. In the rough boards I had the lines of text held for four seconds each and the visuals for only two. Here I've reversed that and monkeyed around a bit with some of the panels and worked it out to three for the text and four for the visuals basically across the board. After studying a number of recent trailers I determined that text can be read faster than I had previously thought and that a more balanced rhythm between the visuals and the text would make things flow a lot smoother (the rough animatic was too jumpy).

PANEL 2: Same as previous. I've liked this opening text ever since I first wrote it down, and we all know what they say about when it ain't broke ...

PANEL 3: I decided to bump the shot of the shuttle together with the Earth up to the first visual here. My reasoning was twofold. One, I think it establishes better the whole setting for the movie (and by extension, of course, the trailer). It's something familiar for the viewer to hang their hat on: a space shuttle, not unlike what exists currently, passing by in high orbit over the Earth. The second reason I'll cover in my discussion of Panel 5 which follows.
__________________
Even the wildest of dreams might be realized through the pursuit of attainable goals.

My Website :: My Sketchbook Thread :: EON Trailer Challenge
 
  10 October 2006
Edited storyboards or 3D pre-visualization: Panels 4-6



PANEL 4: Same as previous.

PANEL 5: More or less the same, but I think it works better now in conjunction with the shot of the shuttle over the Earth in Panel 3. The reason being, with the Earth now firmly established as sitting "below" the shuttle, it is more readily apparent that the shadow that begins to loom over the shuttle cannot be that of the planet itself (that may have been obvious before, but I think it makes it concrete now with this order and also provides for better overall continuity between panels 3, 5, 7, and 10 as a sort of zoom in closer and closer to the shuttle).

PANEL 6/7: I changed the wording for this one (the previous "No one knew how or why" sounded just plain clunky to me). I'm still not entirely satisfied with what's here, although it is getting closer. The overall rhythm of the opening third of the trailer feels right to me, and so I know *something* needs to go here with more or less this flavour to it (i.e. some comment about the Stone itself). I'm just not one hundred percent convinced this text is quite it--yet. But it's definitely much closer.
__________________
Even the wildest of dreams might be realized through the pursuit of attainable goals.

My Website :: My Sketchbook Thread :: EON Trailer Challenge
 
  10 October 2006
Edited storyboards or 3D pre-visualization: Panels 7-9



PANEL 7: See discussion of Panel 6.

PANEL 8: Almost the same, except I dropped the Earth (which is now established in Panel 3) out of the picture. This concentrates the viewer's focus squarely on the shuttle and the Stone. And again, I think the overall sequence works better since it creates a sort of jump pan and zoom in towards the shuttle now throughout the opening four visual panels (3, 5, 7, and 10).

PANEL 9: I changed the wording here a bit (from "And one woman was chosen") making it simpler though the sentiment remains pretty much the same. The text here begins the link between the overall setting already established (21st Century, Earth's orbit, "the Stone", etc) and narrows the focus to Patricia, who is the protagonist and whose individual story will provide the main thrust of the remaining portion of the trailer. Other options might have been to make the impending war the main focus, or the chambers of the Stone, etc. I don't think there's necessarily a right or wrong choice in that regard, but whatever one's choice I figure it should act as the guide for everything else. I went with Patricia's story first, and then touch on the other stuff as it relates to her.
__________________
Even the wildest of dreams might be realized through the pursuit of attainable goals.

My Website :: My Sketchbook Thread :: EON Trailer Challenge
 
  10 October 2006
Edited storyboards or 3D pre-visualization: Panels 10-12



PANEL 10: Basically same as before, although I'm thinking now that for the sake of continuity in the "zoom" I may need to change the angle of the shot. At the very least, perhaps have it straight on to the window. I'm not sure how I can creep up from behind (which is how the zoom was progressing in the previous three shots) and still get a shot of Patricia's face with her facing forward.

PANEL 11: I like the text here much better than the previous "To discover the truth." That maybe had a certain ring to it, but I find this much more powerful. "Truth" is such an ambiguous concept, but a secret that needs unlocking is much more gripping and visual image since it implies a more concrete action (to me anyway). And it's true enough to the story since that's more or less what Patricia is brought on board to do, namely, solve the puzzle of the Stone. I also bumped the dialogue from the subsequent panel to here as part of my redistribution of the timing. Plus I thought it was cool to have the dialogue come in on a predominantly black screen first (and one must never underestimate the "Cool" factor).

PANEL 12: Since I cut one of the two images here, I wasn't entirely sure what to show. The dialogue has them docking, but I haven't actually established that there's a dock yet. So I either need a shot of the dock from far enough back to give the lay of the land, or a really close in shot of them coming to a stop and hope the viewer connects the docking bay with the Stone. After a coin toss, I decided to go with the ship coming to a full stop. But I reserve the right to go for best two out of three. Also, I reversed the shot and threw the Earth back in for good measure thus re-orienting the viewer as to overall setting and location and hopefully making it clear that the shuttle has just entered the Stone. I hope the reversal works in terms of the jump zooms, but it's possible it may need another quick shot in there to make that transition a bit smoother.
__________________
Even the wildest of dreams might be realized through the pursuit of attainable goals.

My Website :: My Sketchbook Thread :: EON Trailer Challenge
 
  10 October 2006
Edited storyboards or 3D pre-visualization: Panels 13-15



PANEL 13: These next four panels follow the same sequence as before, but I've changed the shots. In the book this dialogue exchange comes while he's escorting her to the lock access corridor, but I decided to have him still seated and Patricia in the background for a couple of reasons. One, I find this shot a lot more dynamic in terms of composition. Two, it establishes visually that she's talking to the pilot (and not just the flight attendant or some anonymous person, though that's not a knock against flight attendants or anonymous people), something which wasn't necessarily obvious in the rough boards. I'm not sure it's all that important who she's talking to, but I rather like the idea of making it clear who this guy is because again it maintains a certain continuity from the previous shots (i.e. we've just seen this guy flying the shuttle, and now we see him). Also, it's entirely possible people wouldn't have known she was still on the shuttle at this point, but showing the pilot still in his seat makes that more readily apparent.

PANEL 14: Now that the previous panel has established the scene and character placement, I throw to focus to Patricia by bringing the camera closer to her.

PANEL 15: Same for the pilot. I move the camera in for a close-up. I've also framed them on opposites sides (i.e. Patricia on the left, the pilot on the right) to make the conversation read correctly on screen.
__________________
Even the wildest of dreams might be realized through the pursuit of attainable goals.

My Website :: My Sketchbook Thread :: EON Trailer Challenge
 
  10 October 2006
Edited storyboards or 3D pre-visualization: Panels 16-18



PANEL 16: Here I bring the camera even closer focusing on the eyes to emphasize her reaction to what the pilot has just said. I changed the wording from the book at this point just slightly. For one, I don't think a script can be slave to a book anyway, simply because they're two different mediums with two different sets of demands (although, having said that, I dislike scripts that mess around with story and dialogue for the sole purpose of making it "different"). But the book has, "Don't you know? You're here to save their collective hides?" which felt a little too wordy on the one hand for spoken dialogue, and isn't nearly as ominous sounding as I wanted it to be for the purposes of the trailer. This is perhaps the one place where I'll fully acknowledge I changed something solely for the purposes of the trailer, because in a script I'm not entirely sure I would have done so. But I wanted some verbal reinforcement--picking up on the text about her being able to unlock the secrets of the Stone--that Patricia is the key to this whole thing.

PANEL 17: The same as with the rough version, this is the point at which the tempo really picks up and changes direction.

PANEL 18: I added a shot here of Lanier and Patricia looking at the book. It puts faces to the dialogue and I was beginning to get concerned that there were too many "floating" lines in the trailer (i.e. lines of dialogue spoken over other images). I also reversed the side of the screen that Patricia is on from the sequence of her and the pilot. I can't entirely explain why, but somehow it felt like it balanced things out (as opposed to always having her on the left).
__________________
Even the wildest of dreams might be realized through the pursuit of attainable goals.

My Website :: My Sketchbook Thread :: EON Trailer Challenge
 
  10 October 2006
Edited storyboards or 3D pre-visualization: Panels 19-21



PANEL 19: A shot of the title page of the book with the date prominently displayed, and perhaps even a slight zoom in on the printed date. I toyed with the idea of removing this sequence of visuals in the library entirely, being unsure as to whether or not it would read correctly (i.e. the idea of the date of the book conveying all the correct information in the time allotted in the trailer). The irony of having the one sequence in the trailer that didn't look at all futuristic running against the one bit of dialogue that mentions the future was not lost on me, and so I considered simply going with shots of the chambers and cities and anything that simply looked futuristic. But after giving it some thought I'm satisfied that the dialogue reinforces the pictures well enough, and with the added shot of Lanier and Patricia I'm hoping it works better.

In terms of the overall flow of the trailer, I chose this bit of dialogue because it gives the viewer a taste of what Patricia is going to be dealing with without spilling the whole plot. Mention of the future comes very early in the story and so I don't feel it's giving away too much by mentioning that aspect in the trailer. It also ties in with the direction already established of concentrating on Patricia. Although the quote here in the book is really Lanier showing her this, in terms of the flow of the trailer it could be taken as her being the one to discover it (and thus is in keeping with the idea of her unlocking the secrets of the Stone). So on one level it perhaps slightly distorts what actually happens, but I don't feel it misrepresents the main thrust of the actual story (because it actually is something she discovers, she's just not the first one is all). I'm conscious of using the various parts of the movie to one end in the trailer without misrepresenting the story itself. This same sort of thing happens in a few more sequences later on as well.

PANEL 20: Same as the rough boards. Although the board doesn't really convey it, I picture a fairly dynamic angle here that shows both the flaw and the "ceiling" overhead, hopefully with some indication that the city is literally wrapped around the inside of this chamber. Possibly a pan upwards to reveal that.

PANEL 21: Instead of having two static landscape type shots, I replaced the sixth chamber shot that was originally here and in its place put in two shots of Patricia at the flaw, one wider shot to establish the setting and then a close-up showing her face barely perceptible and all distorted in reflection. These shots come right after Lanier's line about the Stone being from *a* future. I think the distortion in Patricia's reflection in some ways stands as a visual metaphor for possible distorted or alternate time-lines (see, now I'm getting all literary-like). In any case, it shows a little bit more action than simply another still of scenery.
__________________
Even the wildest of dreams might be realized through the pursuit of attainable goals.

My Website :: My Sketchbook Thread :: EON Trailer Challenge
 
  10 October 2006
Scratch Voice track and/or initial footage: Panels 22-24



PANEL 22: See discussion for Panel 21.

PANEL 23: Identical to the rough boards. I liked this shot from the moment I first conceived of it. The two heavy lifters in the mid and background will already be under way when it flashes on screen, and then the lifter on the extreme left in the foreground comes blasting into the frame at a blur just as the music steps up another notch (the music does this every eight seconds through the second half until just about the end). In terms of the dialogue, it builds on the previous comments by revealing that they possibly have access to information about the future.

PANEL 24: I nearly cut these next two shots, and they may in fact have to go in the final edit. But I think they add to the underlying tone of catastrophe and possible war. And they're only on screen for fractions of a second really (the timing I'm posting for these and a number of others are estimates, since I haven't timed out all of the minutiae yet). The dialogue here, chosen from a different scene in the book, again builds on what came previous and further defines just what kind of catastrophe we're talking about, namely, war.

**********
EDIT -- I just realized I uploaded this one under the Scratch Voice Track milestone by mistake. I'll be submitting the voice track soon enough anyway, but just to keep it legal could one of the admins switch this to Edited Storyboards if possible? Thanks.
__________________
Even the wildest of dreams might be realized through the pursuit of attainable goals.

My Website :: My Sketchbook Thread :: EON Trailer Challenge

Last edited by fifty3dragons : 10 October 2006 at 04:09 PM.
 
  10 October 2006
Edited storyboards or 3D pre-visualization: Panels 25-27



PANEL 25: Previously I had simply conceived of a line of soldiers running past, but I like the idea of creating some depth with soldiers in the fore, middle, and background, although in some ways that feels like a bit of a repeat of the heavy lifters just two shots back. Again, this one flashes on screen for only fractions of a second. It may be that I'm trying to squeeze too much in here. If that proves to be the case, I may drop on of these shots of the soldiers, or alternatively re-bump the next sequence back further in the trailer (for details of that see the discussion in Panel 26).

PANEL 26: In the rough boards, I had a shot of Mirsky holding his gun on Vielgorsky and it came later in the line-up than this. I decided to bump it up for now, but due to the overall timing and everything I'm trying to cram in it may not stay here. Anyway, I broke down that one static shot into four more dynamic shots. The first one here shows Vielgorsky on the train, and the three figures approach in the extreme foreground (Mirsky flanked by two soldiers).

PANEL 27: A shot of just the rifle muzzles coming into view. This will flash by pretty quick.
__________________
Even the wildest of dreams might be realized through the pursuit of attainable goals.

My Website :: My Sketchbook Thread :: EON Trailer Challenge
 
Thread Closed share thread



Posting Rules
You may not post new threads
You may not post replies
You may not post attachments
You may not edit your posts

vB code is On
Smilies are On
[IMG] code is On
HTML code is Off
CGSociety
Society of Digital Artists
www.cgsociety.org

Powered by vBulletin
Copyright 2000 - 2006,
Jelsoft Enterprises Ltd.
Minimize Ads
Forum Jump
Miscellaneous

All times are GMT. The time now is 06:48 AM.


Powered by vBulletin
Copyright ©2000 - 2017, Jelsoft Enterprises Ltd.