" In every pre-production process there is challenge and difficulty, but if mistakes are to be made and learned from, it is best that they take place during this period of preparation. Refining the idea through the initial script development and visualisation process is crucial, and getting a real sense of how the story, whatever its terms and conditions, will be actually executed in relation to its technique is fundamental."
(Paul Wells, The Fundamentals of Animation)
INTRODUCTION TO MODULE
People are natural storytellers who configure everyday existence into narratives to share with others. Animation, being so versatile, can breathe life into old stories, creating new ones and enhancing the literal, realising the fantastic and supernatural, visualising consciousness and concepts. A writer for animation needs not only to be visually aware but also aware of what animation can achieve that live action cannot and exploit the distinctiveness of the medium. Because they are so labour-intensive, animated films require specific advanced preparation in order to complete the work in the most economically viable and time-efficient way. Where live-action tends to accrue more footage than it needs in order to create the film in the post-production edit, animation is created more in the pre-production phase – for example, in the five years that it takes to make a feature film at Pixar Studios, three years are spent refining the story and visualisation before any animation begins.
When pitching for funding, development or production you have to be able to ‘sell’ your idea to a broadcaster/funding body and you also have to be aware of your target audience. Your concept has to capture and maintain the audience’s attention and interest – it’s all about the story, characters and relationships and your own unique interpretation and sensibility.
THE BRIEF
I am required to create a pre-school or children’s animated series to be pitched to either CBBC, Cbeebies, Milkshake!, Cartoon Network or Nickelodeon.
I will need to research the target audience and broadcaster for my series and evidence this in an annotated digital research file (PDF format).
I need to produce all the pre-production elements required for assessment which includes a log-line; premise; script storyboards (working, slugged and client); character designs (including model and expression sheets, size comparisons if more than one character) in PDF format; background design and layout in PDF format; an animatic .mov file with sound; animation pitch bible in PDF format and, finally, a 5-10 minute pitch presentation of my concept.
This module investigates the skills required to proceed through the pre-production process.
I will participate in the following:
• Produce a Research File and present findings.
• Produce Pre-production elements leading to the compilation of an Animation Bible.
• Attend an Animation Festival.
• Develop and research ideas as well as the animation industry which will be presented as research and developmental work.
PORTFOLIO OF EVIDENCE
Includes: Log-line / Premise / Script/ Storyboard (client and working)/ Concept Art / Background Designs and Layout / Character Design – model sheets and expression sheets (including size comparison where relevant) / Animation Bible / Animatic.
DEVELOPMENTAL WORK
Includes: Developmental Sketches/Designs & Blog.
" Artists who operate on the principle of rejecting all form are themselves dependent on form. The freshness and excitement of their work comes from its contrast to the pervasiveness of formulas and patterns in the culture. However, these artists run the risk of reaching a limited audience because most people can’t relate to totally unconventional art. By definition it doesn’t intersect with commonly held patterns of experience ...... A certain amount of form is necessary to reach a wide audience. People expect it and enjoy it, so long as it’s varied by some innovative combination or arrangement and doesn’t fall into completely predictable formula."
(Christopher Vogler, The Writer’s Journey)
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