#i have the script done so i'm on the storyboard step of it

[tobythetrashyartist]

i am here to announce that i am making a clancybearer animatic for the line thanks for coming to my ted talk

[meo-eiru]

Do you have any tips on starting a VN is really wanna make one but have no idea how to actually start I have a few ideas but the writing and planning out is what overwhelms me and starting things is always a struggle how did start the process on your VN?

Well I'm no pro by any means so take everything I say with a grain of salt. I'm sure everyone has a style they find more productive but I'll talk about how I personally go about it as an artist who prefers drawing over writing (I'll be using the stuff I made for a now scrapped vn idea)

I usually like to draw a simple storyboard to get a gist of exactly where I'm planning to start and the story I have in my head. It's a very simple and quick step and don't be afraid to make some changes on the first version you drew.

For example here I have the start of the story and the 3 endings with the main diversion of the story line.

Then once I'm done with that I make a more detailed and longer storyboard of the actual game. I decide exactly where the options appear and where they lead to. This one is important, I usually go back to check what I decided on quite often, don't think "oh I can remember this no problem", you probably won't. Write down notes.

Once that's done I basically dive into writing the actual script, while following the story line I had decided on beforehand.

Visual novels are quite easy to code but they are very dialogue heavy, and dialogue writing is very different from writing normally. You can't just go "he said she said", you need them to come directly from the character. Don't be afraid to spend as much time here as you need.

As I said I'm not a pro, for example Sel is a writer and not an artist and I know she just immediately starts with the script after some planning, writes an overall script and adds in more details every time she goes over them.

There are no strict rules to making vns, there isn't a schedule you're forced to follow. See what feels easier to start with and go from there

[starheavenly]

hiii!!! loving your locket comics!!!!!! just wanted to ask a few questions about your process, if you dont mind :D

whats your general process like?

do you do thumbnails, how do they look like?

roughly how long does it take you to complete a comic panel or page?

how detailed are your sketches? do you do multiple?

do you have any specific techniques for lineart?

do you typically use references for your comics?

generally, how much effort and focus do you put into your comics?

do you have any advice for drawing comics?

sorry for for the absolute bombardment of questions, lmao. just really enjoy your art and comics and very interested in the behind the scenes!! feel free to skip any questions (or this whole ask) well wishes and salutations!!! :D

Hello! I'm so glad you enjoy my comics, and I totally don't mind breaking down the process!

For a normal comic page, I would likely actually write a script since it's much easier to keep track of dialogue and actions. But since these are short, I just write it into my thumbnails.

Step 1: Thumbnails. Easily one of my favorite parts, since I get to throw all my ideas down. I do these comics on a 2-panel grid, so I don't have to worry about actual paneling, and it allows me to focus more on the setup of each shot. Think of it like storyboarding!

Step 2: Add cleaner thumbs if needed. I actually made 3D models of Deadlock and Ratchet's chest in Blockbench, so I often trace them to save myself some time! (It might look insane, but I promise, for me, it's not.)

Step 3: Lettering! I actually like to get the lettering out of the way right away since it can take a while. Ever since I started treating lettering as its own form of art, my skills have gotten better, but it also takes much longer.

Step 4: Clean sketch! I'm just now finding out that people think I’m doing lineart for these? I am not… these are all just clean sketches. Maybe doing the blackwork gives the illusion of lineart?

Step 5: Color! Most of these comics are in black and white to save time, but it also lets me focus on values and shot framing again. I add my glow overlay to the eyes, and boom, done!

Roughly how long does it take you to complete a comic panel or page?

It really depends on how complicated the panels are. I like to step out of my comfort zone. I know the Grimlock and Misfire one took longer because of how many panels there were and the fact that I was drawing characters I’d never drawn before, but I’d say it usually takes around 5-8 hours for a whole page.

Do you typically use references for your comics?

I'm literally the reference GOD- we all know this. But yes, I love using references and doing character studies. I have yet to do a study on LL Drift, but I have a few references of him that I’ve made.

Generally, how much effort and focus do you put into your comics?

I mean, I wouldn't say I don't put in a lot of effort? I put in enough. I don't know… there's a point in the clean sketch process where you can kind of just turn off your brain. I'm passionate about comics, but we can all agree there's a point in a drawing where you just zone out.

Do you have any advice for drawing comics?

I think being able to balance dialogue and visuals is super important. I don't know if you guys have picked up a graphic novel from Barnes & Noble recently, but if you open a page, you'll see a character sitting with the biggest bubble you've ever seen, filled with paragraphs of text. While I get it—being a novel as much as it's graphic—I personally like to visualize emotions more. If it means adding two more panels to make an interesting dialogue setup, I don't mind doing it. Another thing to remember is that not all panels need to have details or 100% effort. Sometimes you need to simplify and move on, and that's okay! Those two extra panels that are giving you a better stage setup might be the ones that need fewer details and less time. I would consider my comic page work and my 4-panel work very different. One is about paneling, setup, and visuals, while the other is very much like storyboarding. Both are skills you learn with practice and study.

[kamikotorayama391]

Break announcement

that's all for now. I'm taking my usual short between-chapters break. Gonna be working on some other stuff and work on storyboards.

Btw it's that rare time when I've started preparation for the next step when the previous wasn't done yet (I already have storyboards for 2 pages of chapter 6 AND the whole chapter 6 script done! WOW)

I'm not leaving, no. I'll be here. Just without the main comic for now

So, uh... I'm not sure about how long the break will be this time. I'll give you a sign when i'll be ready to post the continuation OwO

[38sr]

Hi! I love MAWS it’s so good!! It’s literally changed my mind on Superman as character bc he was never one of my favorite DC characters until now!

I have a story boarding question if you don’t mind!

What’s your process for starting to board a scene? Do you thumbnail out first? Do you look at reference?

I want to be a storyboard artist but it‘s daunting to start the actual boarding process because I don’t really know how to start? #industryQs

Hello hello!!! Aw, thank you so much for enjoying the show! Hopefully you and fans will also love the second season once it comes out~ Oh, my process for storyboarding. Well for reference, I've only worked on script-driven shows which means there are writers who write the scripts as opposed to board-driven shows where board artists are writing dialogue on top of doing the storyboards. So when I'm first given a script I (obviously) read it and ask a lot questions to my director (if possible the writer) for things that are for sure needed to be there. Usually this can be like "Hey, throughout the section a character is feeling this emotion" or "Make sure the screen direction is this because of this other element". For me, these are like tentpoles I place down and work within so that I'm giving what my director wants. But once I ask the questions and read the script way too many times, I make very bad thumbnail drawings on post-it notes haha. Normally if I get a good script, I can clearly see the images in my head and quickly put it down on paper (and it's not very good haha, it's more like this is the composition I want). Sometimes I don't see certain parts as clearly and I'll ask my director for feedback/advice and we work together to put it all on paper. Sometimes I do look at references if I'm stuck on a section or I really liked how a show did a shot and I wanna dissect that further. It's all very dependent on the episode in how much I look at references and how many questions I'll ask, but that's pretty much how I start. Even if it's for personal stuff that I'm not writing a script for I still just get the ideas down on paper first and ask my friends to roast me haha. It doesn't really matter if I make the most perfect drawings because if it doesn't work, if it doesn't flow well, if the visual storytelling isn't solid, then doing all that embellishment I did is wasted. That's why I always tell myself it doesn't need to be perfect, it just needs to work. After that, I go into doing actual roughs in Storyboard Pro and might change shots to enhance the shot flow or start adding character acting. But again, it's not clean or very good drawings. I draw mannequins and make sure the heights/proportions are right for composition reasons and get everything down so my director can edit my work and provide feedback. But yeah, a lot of my process in the beginning is getting the ideas down on paper first and making sure it works before embellishing it. It can be very easy to wanna make one beautiful shot and not distribute that energy equally across a whole sequence. I want the whole sequence to be good, not just that one shot. Once that's all said and done (meaning I've gotten my director's feedback and such), that's when I clean up and make the boards more presentable for the final pitch. For me, storyboarding is a marathon and matter of making a good shot flow rather than flashy boards. Get it down on paper, edit out what does and doesn't work (asking for feedback helps with this step), embellish once I have the foundation down. Not every board artist does this but this is pretty much my process haha. I hope that answered your question!

[laughroditee]

Thinking about the COD urban fantasy AU that I will be writing a fic for. I have a background in fine art and comics and have experience with video editing, so because of this, this fic came to me as a movie trailer, which I plan on making an animatic of. (If I can get my husband to learn how to voice the characters, I may include voices as well.) But it came from the idea:

What if there was a necromancer who would raise your loved one, but if you didn't pay them, they'd take control of them?

And that leads us to the

🟡 "Repossessed" Trailer Script, starring necromancer!graves

(please note that I do not have any formal training in actually formatting scripts so these are just my notes for the animatic. Filmmakers, don't come for me.)

(OPEN on a cityscape at sundown, cue music, if any.) Voiceover: "The name's Graves."

(NIGHTTIME. cut to a scene of a man, back to us in a cemetery. Close in on headshot, he turns to face the camera.) V/O: "Phillip Graves."

(INTERIOR OFFICE, DAYTIME. Graves is seated behind his desk, feet up, leaning back in his chair, maybe playing with a Rubix cube or something, speaking with a client, whom we can't see yet.)

Client: "Phillip Graves? As in 'fill up graves?' That's a bit… on the nose isn't it?"

Graves (smirking bc he's a cocky mf): "I don't so much fill ‘em up as I do empty ‘em out nowadays."

(Cut back to scene of Graves in the cemetery where a green, eldritch light glows from his hand.) V/O: "As a necromancer, I can bring anyone back from the dead."

(Cut back to Graves in office, looking at client.) Graves: "For a Price."

(Graves leans forward, cocking his head): "What would you pay?"

(Flashes of the deceased, happy.) V/O: "What would you do...?"

(Flashes of the deceased and the client together, loving etc huehuehue) V/O: "...To have them back with you?"

(Cut to Graves sitting behind his desk, holding up photo of the deceased between two fingers, looking at his client, cocky and eager.) Graves: "Pretty little thing like this? What's it worth to ya?"

(Cut to John Price seated in the chair opposite the desk, looking grief-stricken, desperate, and determined): “Everything.”

(cut to black, dramatic pause if there's music)

(Cut to first person POV, looking up at Graves, giving you a hand.) Graves: “Welcome back, darlin', to the land of the living.”

When I post the art (storyboards and eventual video) for this, it will be on my art blog @momokeen and reblogged from there. (I try to keep my 18+ stuff here separate from my main blog, even though I update more here, currently.)

Issues I know I will have:

Time - my chaotic brain always has a billion projects going at once, which is why I wanted to at least put this much out. I have at least four other fics that need attention, not to mention actual real life, and running a small business. I will be doing it though. It may not be good, but it will be done, eventually.

Finding the right music. Currently I'm looking for good epic trailer music. I have zero money to commission someone to compose something custom, otherwise I would ask my friend if he'd take the job.

Voices (because I want them 😩)

The decedent. I had planned on writing the fic as a "x you" POV, but if I'm including a visual trailer, done in the way that I want, obviously I have to pick one way the decedent looks, which I know will leave many people feeling left out. This is why I tend to make OCs, as it's easier for me to make decisions that my OCD and trauma brain won't let me make otherwise, because "this person is their own person and this is how I've developed them." (Also I'm new to fanfic, pls forgive me. I know OC x Canon is the less-liked option here. I really struggle with trying to make everyone happy, to the point that it's debilitating and I honestly don't know what to do.)

And finally, ✨mental health✨.

But yeah, that's it. That's a thing I'm gonna make. This was step one. Thanks for reading. 🖤

[egg-noodle]

I made a short film this year! \o/ https://vimeo.com/897307551 Pass: what is Val? (one word, no caps, no plural)

It's based on the characters from Knives In Your Eyes. A little write up about my goals and thoughts on this project below.

I had wanted to see if I could still make a film after having a stroke. I haven't made a film since 2014, so it felt like I was dusting off cobwebs for the first few months haha.

I'm an animator at my day job, so I didn't want to focus on the animation at all. Instead, I wanted to put all my energy into all the other steps of making a film (script, storyboard, layout, backgrounds, fx, compositing, etc), since I'm far less proficient at those things.

I wanted to explore Hunter's fears, mainly their fear of becoming inhuman and of being seen. I love the idea that Dream and Nightmare see the dreams that they're eating, and thought that Hunter's conflicting desires surrounding Val would be a great opportunity to see them feed off a single dream.

I lengthily blogged about my technical goals and process elsewhere so I won't write it all again here, but I hope the 'Val is intensely unsettling, and Hunter experiences what they think is the worst case scenario but is still somehow Into It' vibes comes across ok. I Am Cringe But I Am Free! :D

The cool thing is, I can already spot the areas that need improvement and know exactly how I'd go about making those changes, so I feel that overall my critical observation skills have leveled up a lot :D I'm really proud of myself!

If anyone is curious about software: boards were done in Storyboarder, backgrounds in Clip Studio Paint, and anim/fx/comp in Harmony.

[pipmcmayhem]

Pip's Process for Making Comics :)

Hi everyone! I know I'm rarely on here, but I've decided to share my process for my webcomic in case it could help anyone. I've been building my story for many years in my head (it's a paracosm that's been with me basically since I could hold a pencil), and it wasn't until about 2021 that I was finally able to start getting it down, and this is the process that works for me. This process is more aimed at super-lengthy ongoing multiple-arc type things, so those with massive fantasy epics, this is for you!

1) Make an outline for the arc. I make a list of each episode, and the basic events that happen in them. I typically have 11-13 chapters per arc and 2-3 focus-events happen in a chapter, because I try not to have "too much going on". Breaking down the focuses in a list is also useful in that you can gauge the flow of the focus and not have it "jump around" too much, and also balance how much you focus on one character to another, etc.

(As you can see, this is very basic, but keep in mind I've had "the party episode" in my head for years so I didn't need to write out a scene I already knew like the back of my hand in the list)

2) Once the list is done, start writing the episodes in a script-like format. If you're doing your project solo, literally no one has to understand the script but you. Write it how you envision it in a way you can understand. And don't be afraid to stray slightly from the list! Do whatever feels more natural.

3+) After you've scripted the final scripts for each episode, write down ANOTHER list of all the significant things that DO happen, so you can reference back to it in the future to avoid things like plotholes and accidental repeat of events. You could also, instead, edit the original list from step 1; I just personally like to have multiple documents so I can see changes and where they happened. 4) This is where the drawing begins. What I do is make REALLY rough drafts for every page in each episode. Think kinda like thumbnailing for storyboards; I just scribble down the basic events I want happening, the area of the dialogue (with the beginning few words of the line, to keep track) And after that, it's clean(ish) sketches*, lineart, coloring, etc. I typically do all the roughs in order, and then do the same with clean sketches, and then do the rest page-by-page. (*EDIT: I wan't to elaborate that I highly recommend adding the text in as early as you feasibly can so you don't have to worry about text fitting, as you can work around it)

IMPORTANT NOTE! DO NOT be afraid to stray from ANY of the initial writing! If your script's dialogue is fine but doesn't have enough pages, make more pages! As you can see, I had to split what was originally going to be 1 page. There was even a crucial scene in chapter 3 of my comic that didn't even happen in the scripts, but it needed to. If you feel a change is needed, do it! Don't restrict yourself too much; see the script as more of a guideline.

So yeah, there's my method. I know it was unprompted and all, but for so many years I felt hopelessly lost when trying to get this MASSIVE story down, and my goal of posting this is because if there's the slightest possibility this could help someone, I want it to do that. :) Hopefully this helps someone, but now is my time to say that I'm by no means a professional; I'm self-taught and I've only been making the actual comic for 3-4 years, however I have 5 out of 10+ of the arcs fully scripted :) If you're interested in my comic, you can read it here! If you check it out, know that that means the world to me ;w; Have a nice day/night <3

[revretch]

Hey! Big fan of your work - I've recently started delving into Blender animation, is there any way you could share the workflow u use when animating stuff?

Of course, but be warned that my workflow is highly idiosyncratic!

First off: Rigging. How I do it depends on exactly what I'm animating. If I'm rigging Sophodra, Gregorsa, or one of the humans, I'll use Rigify, which ships with Blender (though you'll have to enable it in add-ons). It's free, and for roughly human-shaped figures, it gets the job done.

For the other insects, and especially for the arachnids, it gets a little harder. See, arachnid limbs have a lot of joints, and most rigging add-ons aren't equipped to handle limbs more than three bones long--and I definitely wouldn't want to set up inverse kinematics for that many legs manually. So for those, I use an add-on called FreeIK, which you can get on Blender Market for only $30 (but be sure to read the docs!): https://blendermarket.com/products/freeik

FreeIK is amazing! It uses a method called "ephemeral rigging," which lets me pin any bone in place whenever I please, making it much more like animating a puppet and allowing a much finer level of control than traditional rigs. Sadly, that can be a little too much control on some model--hips on humanoid rigs will shoot out at random. For something like a spider, however, it's absolutely perfect! (I recommend using it in tandem with Selection Sets, another add-on that ships with Blender, to keep track of which bones you want pinned.)

Moving on from rigging, I also use an add-on called Onion Skin Tools. This one is only $10 on Blender Market: https://blendermarket.com/products/onion-skin-tools

As the name suggests, it lets you use onion skinning like in 2D animation. I couldn't imagine doing a walk cycle without it! With its help, I'm easily able to make a repeating walk cycle that loops in place while I move a parent empty around. (And if you're using FreeIK, you'll definitely want to be using a parent empty for placement. It's powerful, but bones can start behaving unpredictably if you get too far from the model's origin. I use two nested parent empties--one for walking, parented in turn to a master empty used for general placement.)

As of work on episode seven, I've also start incorporating Grease Pencil. Grease Pencil is an excellent tool all around, allowing you to do 2D animation in Blender! My style is cel-shaded enough that I can combine it with 2D. Not only do I use it for storyboard reference, but I also use it to draw on top of the scene, for where the 3D just isn't cutting it. I import the storyboards and other drawings with an add-on I made myself--Blender by default only lets you import black-and-white shapes, but my add-on imports as strokes, and can handle color: https://github.com/revereche/lineart_to_gp

I've also started incorporating AnimAll, which is fantastic (and also ships with Blender!). Shapekeys are already powerful tools, allow you to tweak the mesh manually when the rig isn't doing what you need. AnimAll lets you give each Shapekey multiple frames, so you don't need to set up a ton of Shapekeys to do one complex chain of movement. (Be warned it can cause file bloat, though, so use it wisely!)

As for the workflow itself, I go in this order, more or less (after writing the script and making any needed model adjustments, of course):

1.) Storyboarding. Since it's just me, they don't need to be great quality. The most important thing is making sure of the placements, getting the poses down in gestural strokes, and most importantly, getting the expressions just right.

2.) Recording voices. This can also be done before storyboarding, but I like to be sure of the scene flow before I commit. I used to start with rough placeholder voices, but ended up with awkward timing when the length of the final lines didn't match the original well enough. (Good thing none of my characters lip sync!) So, now I do the final audio on this step.

3.) Staging. Previously, this meant eyeballing the storyboard while I roughly placed the characters in the scene. Now, I import the storyboards in a Grease Pencil parented to the camera, so I can pose the characters to the storyboards more precisely. It preserves vivid gestures that would be easily lost in the CG stage otherwise!

4.) Props and backgrounds. Sometimes, I put this off until after animation, but it's really best to do it now. This can be mesh objects, planes I've painted on--or, often, planes I've painted on and extruded partially into mesh. I like to use Geometry Nodes for mesh wherever possible, especially when instancing many objects! It makes dealing with tons of vines (and humans) much easier. Also experiment with Shader Nodes, since generated textures are crisper than you would get with anything but very large texture images. (And if you're using Cycles, don't overlook displacement! Though you'll have to remember to turn that on in the sidebar preferences. That said, I mostly use Eevee, but am starting to look into Cycles for backgrounds.)

5.) Finally, final animation! I've already put the rough poses down, so I begin by cleaning those up, then adding any needed transitional poses. Then, I manually tweak the speed of the tweening, and offset the movements of parts that drag or bounce more than the rest (e.g. antennae). When a character needs to stand mostly still, I'll add a very slight bob for a moving hold, so they don't look like a mannequin.

After this, I render the image sequences, then put them all together in a video sequencing file. There, I add the citation blips, credits, and Gregorsa's Notes, as well as do some editing in post. Then, it's time to render the final video!

Hope that helps. I wish you luck in your future Blender endeavors!

[pmd-etu]

Did a bunch of storyboards!

I decided to grind out the rest of the storyboards for chapter one and managed to do it in a day![Given, some pages are the same as the original comic I had done, but still!] WHEW..... There will be 35-40ish more pages for chapter 1, and then by the end of Chapter 2 we will officially get past where I canceled the comic before....! Exciting!

For reference, this is how I work on ETU:

-Scripting

-Story boarding

-Sketch

-Lineart

-Color

-Backgrounds

-Shading

-Effects

-Text

And I was doing that a few pages at a time, but I think in the long run its hurting more to do some of those in such small batches, so here's how im breaking it down in the future:

-I script at least two chapters ahead- this is something I'm doing anyways[I have an outline of everything I want in the story already, but scripting is more specific, like "amoris said x, hester did x"

-I'm going to start storyboarding whole chapters at a time- this will make it easier to make pages faster moving on, as I don't have to think of what they look like on the fly.

-The rest of the steps I will continue to do in batches of 5-10 pages, to be able to update at a regular pace!

[thisbelongsto-nohbodys]

Have you a creative process when you make comics or stories ? (Storyboard ect..) and if yes, can you explain it please ??

it depends on what the comic is. Some of them, as a recent example being the upcoming Frilda confession comic, I just come up with it and start drawing. Some of the other's however I need more preparation.

Knowing where a comic is taking place helps to find/look for any references I might need be it screenshots of backgrounds, character model sheets/screenshots, etc etc. If there's a new character or place then either in a series bible (like for my Leilana comics) or on scrap paper make sure to do some rough drafts until u find the right design. Trust me, it'll save a lot of time and paper, there's nothing worse than wearing down the paper with constant erasing only for when u finally get a design u like to have phantom lines all around from how damaged the paper is.

When writing a comic in my head, I'm able to hear the characters' voices and how they'd respond to what the scenario is. Going back and editing it is easier (tho' it makes me redo the whole scene which...yea...) however when I get an opportunity I begin writing things down. This part has the most cuts to every version that was in my head until it looks like it makes the most sense. I'll ask a friend to look it over so I can edit it again and once that's done then I get started on the rest (when I can, I ain't drawing a 4 page comic at 3 am...). Sometimes the script on paper can be wildly different from what was in your head and that's fine, I see it as ur hand(s) (hands if ur typing) editing ur brain and only putting down the important parts of the story.

Because I've been doing this for a while, I can read the script and come up with the panel placements in my head, sketching out the panels with my color-sketch pencils and making adjustments as needed (remember to draw lightly), do brief sketches of the characters and the backgrounds (where needed) and then adding the dialogue, sometimes I change up the dialogue from the script when I notice that it won't fit a word balloon that well or awkwardly, then once it's all ready I ink the dialogue, word balloons and panels in that order. Then ink the characters and backgrounds and effects. I add whatever else I need to do, shading, marker, etc etc and then it's done. Scan it in and either post it or hold on if it's a piece of a larger part.

Don't be afraid to try both scripted and unscripted comics either. I'd recommend scripting it if it's longer, and unscripted can be good for random jokes. A mixture of the two are also fine, I tend to have an outline for my Leilana comics, basic idea on what characters, setting, dialogue/jokes and then once I get the reference stuff done I start drawing. Tho' for the longer arcs, I make sure to write out a script so I can know how many comic strips I'll be drawing.

This method of course is how I find it best for me, it might not be the best for u and so if something doesn't work then don't worry about cutting it out of the step process. Comics r a fun form of art & storytelling and I highly encourage more ppl to try it no matter the skill level.

[kouncilofkrowns]

Welcome to the Kouncil <3

Hello everyone, shall I introduce myself?

Who am I?

My name is Brielle, I am the CEO of an upcoming entertainment company scheduled to be official by next year (2026)

The goal of this company is to create a wide variety of new entertainment for all ages to enjoy.

How long have I been working on this company?

This company has been in development since 2018, It started as a Music production company but was reimaged as an entertainment company in the year 2020.

I've been working on various projects for this company, but I've mostly focused on the company's very first project, which happens to be my favorite project I've managed so far.

What is this company about?

This company produces different forms of entertainment (as it is an entertainment company) such as TV series, Movies, Music, Games, Plays, etc. The goal of this company is to create a variety of content for all ages, genders, sexualities, Races, and mental states.

Is there a team?

Yes, however, my team is still in "development" you could say.

My current team only consists of three people, a storyboard director/Animation director, a Financial advisor/Marketing manager, and a Screenwriter/Showrunner/CEO AKA me.

As you can see we are missing lots of people but this company is still in its alpha stage so I will hire more people to help us out in time.

First project?

The name of this company's first project is a secret (hehe) but I can tell you a few details about it.

First off, this "project" is a movie and is also to be animated.

Second, This movie will be rated R however it is NOT a horror movie (it just involves very graphic scenes that contain heavy gore and such) with that being said, this is a movie for 18+

Third, this project is very diverse. As the creator of this movie, I tried to include a wide variety of different races, sexualities, disabilities, and genders in the characters of this movie.

Lastly, this movie is a Thriller, Comedy, and Action film. and yes, I'm having lots of fun writing it.

when will the movie be released?

As soon as possible, I will say that I alone am currently writing the script, and I'm about 15% done however the script is only in the alpha stage so even after it is 100% complete- I will have to keep it for a while to make sure everything's fine with the -writing before handing scripts out to =the animators. I do plan to release this movie within the next 4-5 years and will do my best to meet this deadline.

So, what's the purpose of this Tumblr page?

I want to use this specific page to post about the company's production updates. You will be seeing sneak peeks, Film trailers, Updated blogs/videos, News, reference art, Auditions, song snippets, and anything involving this company and its products.

With that being said-

I am very proud to introduce our companys Tumblr page! I can't wait to share our progress as we create more entertainment for everyone. This is not our only page also- we have an Instagram and YouTube but they're not currently active so I would say just pay attention to this one.

I hope this company will go far, and I hope you enjoy our projects. I'm going to leave this post here, I'll be back to update you all on the next steps for our company, can't say when as this page doesn't have scheduled posts but just know I'll return eventually and share more details with you all.

Thank you for reading, Trust that I can't wait to post on here again, and once again-

Welcome to the Kouncil Of Krowns!

BYE KOUNCIL!!!

[maria-mga2024mi4016]

Research on writing a script!

13/08/2024

Hi everyone! I've put a hold on the concept artwork for the avatar and I've started on some research on how to write the script. Before next Thursday, I will have to complete the script, Storyboards, and concept artwork. I'm hoping to get started on the script soon, so I don't have to worry about losing track of time.

Let's dive right into my research for writing a script!

This first video was actually sent to our uni group by Ravindu. The video is related to steps that should be followed to write a documentary script.

These are the notes I wrote down while watching the video!

Although this was a useful and educational video that provided important steps to follow when making a script, I realized it was too serious of a script guideline for my idea of a travel vlog/ YouTube video.

A travel vlog isn't a documentary type of video. They are more fun and engaging to watch in my opinion. And the narration would sound as if a friend of yours is talking to you through the screen with short and sweet facts about the place and recommendations.

So, I had to do some research on making a good script for a YouTube video. Luckily, I found a channel that well explained the ways in which you can make a script for a YouTube video

These are the notes I wrote down from the above video!

For the assignment, I will definitely have to type in the script 'word for word' so that the examiners know the context. If I were to just type in random bullet points it wouldn't make much sense.

The research for writing the script is practically done. Now the important part is coming up with a good script. It will have to be a script with short and sweet facts since the duration of the animatic should be a maximum 3 minutes.

To figure out the important points to select from my previous research, I will have to answer the following questions,

What kind of historical content can I add to the script?

How can I talk about the architecture of this old building?

How can I mention the present-day usage of the building?

I'm hoping to answer the above questions soon! That's it for this blog post. Thank you for reading!

[tallbaboon]

The Process

25 January 2023

Hello all,

"A series of actions or steps taken in order to achieve a particular end"

The process of filmmaking starts with an idea or spark, a spark can be anything, a movie you watched recently or a magazine, or even an incident that you witnessed, or it might also be a conversation with someone. My spark was the ending scene in Ant-Man 1. with all the fast-paced music and fast mono dialogue by Luis (Michael Peña).

The next step would be to visualize the idea and draw a storyboard or write a script if you aren't comfortable drawing, in my case since I am comfortable drawing I chose to storyboard (I still have to write a script because my teacher said so).

After storyboarding its time to pull in some favors that your friends owe you and cast them in your project.

After casting it's time to get into the fun stuff, equipment and filming. Your equipment choices depend on your budget or your convenience, for example you can have a good budget and still be more comfortable shooting your phone. In my case, I have some pocket money left over so, I'm going to treat myself to some good gear.

After filming It's time to start editing, post-production, and audio work. please proof watch your work and ask other people for their opinions.

and TADA your movie is ready for the masses.

I expect my work to be done by February end.

Regards, Nitthil.

[sicklyseraphnsuch]

Edit: Also I didn't perceive rudeness but I was discomforted by the level of accusation brought to a post wherein I couldn't see a source.

oh I see. it seems I WAS aware of the tweets you mentioned re: the editorial thing. and I agree with the other person who replied to you. Storyboarding does take up the bulk of the writing.

Barring live action shows, storyboarding is the primary way to get story beats through. This is not the fine tuned detail of scripts - that comes later, after the major plot points were already drafted via storyboard. I receive this knowledge in aggregrate from watching waaaay too many BTS scenes about my favorite media plus formal training for writing rooms. So I cannot point to a specific source, nor am I showing you my degree (for privacy reasons). You can choose to trust me on this or not, either is fair.

But as such, from the tweets provided, the way I'm reading it, it does appear that the JPN team handles the story - sure some things get fixed in script and post. I still remember how Leona and Kalim were called "Exotic" in the original Fairy Gala before it got changed to "Fabulous". But the main plot points remain: Problem, Obstacle to Problem, Solution, Shenanigans to Solution. Once that top level stuff is sorted out in storyboards, usually by a team of artists, scripters fill in the blanks (IF if its not already done so by the storyboardists), then it gets reviewed... usually by corporate

This is NOT unique to twst. Thats why SOME shows get horrible writing. Corporate does in fact step in and look at stories to see if they're "marketable". It's SUPER rare that you have show where the sponsoring company full of business folks decide that they know how to write better. I think the last writer's strike addresses this.

So in summary, this is simply going to be a disagreement on me in that writing front unless more detailed evidence comes up through the pipeline.

I'm afraid I didn't find the racist incident with the US team that you spoke about.

High Level Review and Critique

So like Kalim is the biggest example of this, but to be honest, None of the students (barring Ace to an extent) was taking this seriously enough

They were acting like it was the Ghost Bride and it was just another Haha HeeHee HooHoo adventure with silly shenanigans

EXCEPT, they did it in the context of Pinocchio's Pleasure Island - literally the one franchise that featured human trafficking and the bad guys were never caught on screen

So right away, there's a BIG mismatch between how the cast is approaching and how high the story's stakes are. Because the cast don't seem like they have Any stakes at all. They're fucking trolling Fellow through most of it for being a school hater. REALLY?!? Thats your topic of choice when you're about to be sold as a living puppet???

Kalim gets most of the attention for not taking this seriously enough. But I really think most of them *werent*. I mean look at Ortho! Look how they murdered my boy! Youre telling me that theres a jamming signal powerful enough to block Ortho?? Youre telling me - he didnt automatically dodge the falling glass?? Youre telling me that he didnt plan to take out the snipers that destroyed all flying things so they could leave??

There were so many things that they could have done if they were taking it seriously. But they werent. They treated it like a light hearted adventure when its really not?? They all decided to martyr themselves for vague reasons that they couldnt hide from enough puppets??

I mean... Leona's capture was just fucking tragic, come on...

Part of it is like sure Fellows magic is keeping them light hearted. But it doesnt help the dissonance that the audience feels. Because going back to Pinnochio, my boy was PANICKING. That scene is high octane nightmare fuel bc the boys were so scared!! We see none of that... None of the boys (except maybe Ace) was like scared at all...

[bonnienapierfilm]

FILM NARRATIVE 2

Critical Reflection

When we were throwing all our ideas around, we were very drawn to cowboys in a big galactic battle, however the dreams were short-lived, production would be way too expensive...

I wasn't convinced with the fake detective idea at first, I had a feeling it would be a very back and forth script, just two people constantly questioning each other without much action, and I didn't want a script that relied too heavily on the dialogue.

(I'm not funny, apologies)

However, once we had our plot and character dynamics sorted out, I felt more confident in writing the script. I was excited to be the writer for the group, huge weight on the shoulders but once I got past that fear of ruining the whole project for the whole group, twas all excitement.

Inspiration+Influence

My main inspiration for the Detective was Dwight Schrute from The Office. I wanted the Detective to be quite cocky but also dumb. As well as the mundane dress sense, with lots of beige and brown.

Linking with the bland colour palette, I was also inspired by the set design in Fargo (the series, I haven't seen the film yet). I felt that the cozy late 70s decor would be the perfect type of setting to emphasise that our screenplay is taking place in a house, and not a police station. In addition to the visual elements, I was influenced by the constant tension between characters in Fargo and how they present it in ways other than just dialogue, like where a character stands in a room.

My Process

After writing a first (rough) draft of the script, I was very happy with it and felt it was a great start! We collaborated quite well as a group when redrafting, discussing what we thought worked and what didn't in my drafts. I'd take notes during our calls and get back to writing.

A vital decision we had to make was when we wanted the script to begin, in terms of the timeline. As I was worried we would need to explain how the Detective had gotten Stanley into his interrogation room. However, after a class with Fiann, Leo and Alex, they had explained that scenes don't always need to begin from the moment someone enters a room. We could imply our characters had been here for a while through the dialogue, which is what we did.

As the writer pretty much has to write, I felt I didn't have much to do after the final draft was completed. Anyways, the group did great with all the pre-production documents! Heathers mood board was great (exactly what I had envisioned too!).

Feedback along the way+crit

Some feedback we'd gotten along the way was to make the emotion of our main character more clear, which was Stanley. After this comment I had realised I'd spent a lot of time working out the Detectives dialogue but not much on Stanley. So when redrafting, I took inspiration from The Departed (2006), with the heavy Boston accents, constant swearing and Mafia families. Therefore, Stanley swears a lot, but sadly when our script was graded we were told we had over used the word "fuck", and it wasn't effective if used a lot, but I politely disagree! The Departed has over 200+ fucks and I still think it's great, I feel it tells you a character is confident and unafraid to express themselves.

From the crit, we had a few errors with our organisational skills, with a few wrong submissions resulting in inconsistencies in the work. And we were told that making multiple mood boards for each character would be useful, which I agree with and will aim for in future projects.

Next time, I would be interested in making an animatic. At the time, I felt our storyboards where enough, and they were, however I think making an animatic is a great extra step to take, and it's something I know I would throughly enjoy making! Group 2 had a great animatic with a run through of the dialogue as well as background sound, which really helped me picture what there film would be like, so props to them for this!

What I have learned

I've realised how much work goes into pre-production, I obviously knew roughly what went into it, but even on a small university project it took a lot of work, so my mind will be blown if when I make it to the big leagues (be your biggest fan...or something like that, right?).

I also hadn't thought much about how important story boards and shot lists are. Until we had our groups boards I realised we must of all had pretty different ideas of what the final would look like, linking with how important communication is on group projects!

Group 7

I am proud of all the work we had done by the end of the project. I feel our communication and organisation as a group was always strong, we all gave feedback on others work and helped each other if needed. I am excited for the independent project with this group as I feel we work well together and are all excited to switch roles around.