Graphics Reference
In-Depth Information
Remember that storyboarding is a guide to action that is later used for animation. All of your important
poses, facial expressions, and moments in time should have a storyboard.
Continuing, we see a determined expression on the dog's face, followed by a miss!
4.19
4.20
Figures 4.19-4.20
The dog dodges!
Now, I had to decide how to hit the dog so
hard that it is knocked from its perch. I really
didn't want to show a bone-crushing impact,
after all this is supposed to be somewhat
funny, but it still had to happen. One way to
lessen the visual distaste of something like
this is to put it off screen. So I decided to try
cutting away to the silly dog for a moment.
I realized that this may create the expecta-
tion in the viewer that the silly dog will be
next on the Beast's hit list. But when the
next toy goes sailing past, and the silly dog
doesn't even blink—he's that clueless—it
will be another minor surprise, hopefully
leading to a laugh. Once again, the crucial moment is split, with the toy car suspended just before impact in
one storyboard and the crunch lines and sound effect in the next (Figures 4.22-4.23).
Figure 4.21
The silly dog only pants and grins. Don't blame him, he's
only a prop!
Looking ahead in the script, I knew that I had to switch perspectives at some point to bring the mother and
the kitchen into the story. Because the snooty dog was off camera anyway and there was a strong visual line
of action with the fl ying toy car, this seemed like a decent place to change the point of view. The next shot
then, showing the snooty dog recoiling and falling, is from an entirely different angle. In retrospect, this is
probably the weakest directorial decision in the animation. Changing to a complete reverse angle for a shot is
generally inadvisable, and, although the continuous action of the dog's recoil and the wider shot that includes
the mother helps it to work, it only barely scrapes by.
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