dctoyrevolution.org

I didn't forget.
I've been swamped with working on another series show, that I just finished this morning, that I'd not been able to pick out the panels I wanted to show here.

This is a small section from a 4 minutes web-isode for " Don't Feed the Humans" Episode 12 " Origin" Earl".

This job was a bit trickier than the norm, because other than the basic stock designs, I only had notes from the show-creator and the director to work off of. I had a script, and was working on it about 2 weeks before the storyboard was supposed to be assigned to anyone. The upshot is that although I was flying blind a bit, they trusted my judgement on it.
The challenge here was that there was a sex scene and it had to be obvious, but not gratuitous or show too much.
It also had to be funny.

And in telling something cinematically risque.....the question is always......"where do you put the camera??".
How do you show as much as you can show.....and not show......much. And the thing is that you can place the camera just about anywhere, but it works better from certain angles more that it does from others. For example: imagine starting what you see here with the camera directly overhead, looking down. It would be lurid, and certain obvious as to what is going on......but would it be funny? Or entertaining? Likewise, starting this "sequence" with the camera behind Earl....would that work? Or do we need to see Shirlene right away to get the whole set-up and not "lose the thread", so to speak?? Get the idea?

The following panels are my take on this, and following them is a link to the actual episode on Youtube so you can see how the storyboard translated into film.
See what you think.




















And the episode itself can be seen at:

https://www.youtube.com/watch?v=BdNQEhRLXEE

I find this fascinating and interesting in the world of animation. I just wanted to thank you for taking the time to share this with us and I'm looking forward reading more of this great stuff that you've been doing.

Thanks Ken for sharing this with us today.

Ken! This is absolutely hilarious. I love it! You capture so much expression in your faces. This is tremendous, friend.

So cool seeing the actual artwork, like sketches in the back of comic. Like the style a-lot, but now I'm going to have to ban the images and the poster.

Just kidding. Sort of.

packerbacker180 wrote:So cool seeing the actual artwork, like sketches in the back of comic. Like the style a-lot, but now I'm going to have to ban the images and the poster.

Just kidding. Sort of.

He's such a card!

This is SO funny. So you establish the angles and framing of the scenes, too? That's too cool.

Princess_Amethyst wrote:This is SO funny. So you establish the angles and framing of the scenes, too? That's too cool.

Yep, the script is typically only a guide, for an animated cartoon. There's directors notes to be sure, but the shot selection is usually up to the 'board artist. The trick is to manage things in a conscious, deliberate way, but done so as to not be noticed.

This is the "language" of film, the means of showing stuff in such a way as to invoke an emotional response in the audience.
Carefully orchestrating what is seen can draw the viewer into what is happening and done properly can illicit laughter, or tears........and then memories of the experience.
Even at the level of something that is just a cartoon.
If you analyse an effective piece of cinema, everything means something. Every choice to look at something a certain way speaks to how to react to it. Nothing is random. The power is in suggestion.

I've had some people scoff at the notion over the years, but hey.........if it wasn't true, then Old Yeller and a gun, Darth Vader reaching out to Luke, telling him he is his father, or Iron Giant and the word " Supermaaaan" wouldn't mean what they do.

Dude I love these. Not only is it awesome to get an insight into the process but that's some mighty cool lighting you got going on.