amanda

Here comes my favourite part of every term whenever there's a film project to work on: schedules! Oddly enough, scheduling seemed like a very normal task for me to do whenever we have a film to work on and to abide within a certain time frame.


Production schedule
Individual task sheet

Overall shot list (close-ups are below)

Close-up of shot list (i)
I learnt from our Crew Project sessions with Rosa to name our shots at least by 100s (e.g.: sh0100), just in case that we might have to remove or add extra shots in. This system will allow the production to add in whatever shots that may be required in the long run or remove them as see fit without disrupting the numbering sequence.

Close-up of shot list (ii)
I decided to add in the lip-sync criteria which will help the production know which scenes may require lip-sync animation, alongside with the line of dialogue. The duration of each shot has also been added into the shot list to ensure that we stick with the length of the voiceovers and also the timing that we have set for the animatic.

Info sheets for animators & colourists

Concept arts... are always a tricky thing for me. I decided to give it a go and see what I come up with. Initially, when we were giving our practice pitch, the lecturers said that the concept art didn't seem 'dance-y' enough, which, ironically– was in the title of the project. So, Emma, Ting and I started coming up with ideas, making sure that each concept art was a dance pose that's not only exaggeration of what the character was feeling but also ensuring that there was a constant dance pose or movement through the film that the audience can perceive that the film would be a dance film.

Here are some of the concept arts that I have done: