Character and camera pacing was the area where I had the most significant alterations to make with each pass. As the animation became more elaborate and refined with each pass, the camera work would be adjusted to reflect that. The overall pacing, meanwhile, would be scrutinized after renders were made. The playback timing is often inaccurate, and we would not get a clear feel for the pacing until we could see a rendered sequence that was roughly edited in Premiere, which we were making after every pass, replacing old sequences with new ones. We would also make temporary adjustments, such as reorganizing or removing shots, or changing the speed, and when we found a cut we preferred, we would make those changes. This meant that it was an iterative process that moved between processes in passes, such as from layout to render, then going back to edit the layout and rendering again.
It’s extremely useful to be able to see the sequences rendered. we was able to see and make note of corrections to the pacing and other technical issues or mistakes, but also able to analyze how the shots were working for the storytelling. This was particularly useful while working, because after a certain point it became quite clear that we had not put enough thought into the character motivations, and there was a lack of driving force to the story. The arc of the story was unclear, and we needed to better show how Sage was changing as a person from the beginning to the end of the film. we would not have noticed many of these problems without the ability to see these early edits, and catching them early was also extremely beneficial as was able to make changes before we had made any final animations.
Cinematographic Design Choices Even before we began storyboarding, we began working on the visual design of the cinematography. we made the rule for ourself that the criteria for these cinematic choices, first and foremost, should aid in the telling of the story. If a choice is made that is counter-intuitive to this goal, or made for superficial reasons that might cause confusion for the viewer or add unnecessary complexity without good reasoning, it should be altered or removed entirely. Every choice needed to have meaning, and the animation should not get overloaded with concepts that do not serve the storytelling. Aquestion I had to ask myself early on was how to decide between two very meaningful choices? Certainly, there is an element of choosing for my own personal aesthetic, but I had to be mindful of this and supplement my choices with discussions with my peers and committee members, and getting experts involved through my research by reading and analyzing other films. In the end it is a subjective decision, but 53 my goal was to be always looking back to my primary purpose of story-driven visuals (for a very visually-driven story). I say that all the choices should be in the effort to tell the story, but what does this mean? I believe I’ve found four main points to answer this in terms of what I was thinking about as I worked. These four points tie together and overlap in places, but are very standard and traditional rules that all filmmakers use while setting up the visual design of a film. As a novice in filmmaking, I have to consciously remind myself constantly to be thinking about these points, and use them to help guide me in my decisions. Making certain to pay attention to points like these helps to make certain I am providing the audience with the information they need to follow the story, as well as be visually immersive and interesting. What I found especially interesting about all four of these points was that they each were an overlap of story and camera work, in addition to other visual elements, but each with a different goal, and all of these goals should align. That overlap of story and camera is just about the perfect description of where previs sits in pre-production, and is therefore a key tool in the toolbox for me, as a novice, who is still learning about the best ways to accomplish the goals these four points set up. Directing the attention of the audience. It is important to use visual cues to tell the audience what they should be paying attention to, what to notice, and what’s important in a particular shot. Whatever techniques are used, they should lead the audience from one point of focus to the next in a way that helps the story make sense and keeps the viewer from getting lost. Camera and 54 focus, as well as color (hue, saturated vs desaturated), are the two main ways of directing attention in Wonder