As you begin to work on the storyboard, you will notice that every scene will require at least two or more poses. In a lot of cases, the storyboard gives just the bare minimum as far as the action goes. Dont forget, it isnt the storyboard artists responsibility to indicate every key extreme for the animator, thats the animators job. However, you still have to get the idea across clearly. Later it will be your job, as the layout artist, to expand upon the storyboard artists idea and indicate the extreme gestural poses. This means that you indicate the farthest point that the character might move to, within the field and allow enough room for the character to clearly make that movement. In this assignment the emphasis is on the acting of the two characters. As I mentioned just above, it isnt the storyboard artists responsibility to indicate every key extreme, however for the purpose of this assignment, it would be best to try to get as much into the storyboarding as is possible. Try the little thumbnail animation that I mentioned earlier to help in your posing.
As far as the horizon line is concerned, follow the angles suggested in the script and the scene breakdown. If the script indicates an up shot, then make the board an up shot. Read pages 179 to 188 in the Layout And Design Made Amazingly Simple book. In this assignment we want the camera angles to add to the acting as much as possible.
Within the backgrounds, be sure to allow enough room for the character to do what they must do. In some cases the action is very subtle, while in other cases there is some fairly broad action taking place. If there isnt enough room for them to do this broad action, youll have to make some adjustments to the fielding. Again, if this is necessary, be sure that the proper people are notified about the problem and that the solution is approved before you go on. This is a common occurrence within most animation studios at one time or another.
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