JUNE 5
Animatic Storyboards - pass 3
All items on your email list and our conversation were met.
There are a couple items that came up, which I made notes below.
INTRO
June 16 Notes: version A INTRO was eliminated
Version B intro: timing and elements prepped for next phase.
Mahu explain: village adjusted
Maps: Tonga txt made more prominent, camera pulls back more, Honolulu text added
version B
Here is the other idea I mentioned. If we go with this, the water lines will stretch all the way across form screen left to right; and the initial waves coming at you will probably each appear more quickly and from farther away.
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MAHU EXPLAINATION
Title card: The "kumu hina" font used in the title card is just a placeholder–I decided to at least replace the old english font so as not to distract. Also, I purposely did not mimic the font size you used in your mock-up title card because I found it an unusually tremendous font size—it might look okay on a computer screen but in a theatre setting its much too big. But in the end this is just a suggestion, I will make it whatever size you want, I'm sure you'll specify if need be. The art that surrounds the title card is also a suggestive placeholder, the main issues to tackle here are transition mechanics and camera movement. As I've not completed the final designs yet, you can let me know if I'm hot or cold. When I've mocked up something close to what you like, I'll do another mini design pass just for the title card to make sure it gets the wow you want it to get.
End video transition: I created what looks like a mountain range to cross dissolve to the live video. I forgot to ask you for the actual video file, so for now there is just a still placeholder. Because of the nature of the cross dissolve transition (I've got tree tops overlapping the video) I'll need to make the transition in AE, so I'll need your final color corrected video clip.
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MAPS
the fonts are the same as before because they are just placeholders, once the title card font is decided, I'll be in the position to create a matching map font.
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MAY 14
Animatic Storyboards - pass 2
Storyboard for Mahu explanation coming soon Tuesday morning. It's practically done, need to do last minute tweaks.
INTRO
Still need to do version with past to present transition handled in animation before cross fade to video…
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MAHU EXPLANATION
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MAPS
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APRIL 29
Storyboards - pass 1
password: qwaves
Although I don't have an animatic for it, I still plan on doing a title card. How many seconds would that be?
Pass 1 was kept really rough, for obvious reasons. For pass 2 and 3 a cleaner animatic storyboard will be done for every element that gets approval. Pass 2 and 3 animatics will serve as actual building blocks for the finished animation.
INTRO
notes:
1. I'm planning on using a few ink-bleed-reveal effects, to embrace the idea that we are looking at ink on tapa. The waves in the beginning of the intro will appear using this effect.
2. Obviously many design elements/props, etc., are not completely decided on. Placeholders are there to help establish composition. Feel free to make suggestions based off of what you see in the first pass storyboards—we'll use storyboards pass 2 and 3 to finalize both scene-composition and design elements.
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MAHU EXPLANATION
notes:
1. If the storyboard is satisfactory, I would like to have a conversation about getting some video action references from you for a few of the scenes, in particular when the man, woman, and mahu are shown together.
2. I wouldn't mind adding more of a pause after the escape and before the fire begins—for more drama. We're also anticipating animating the mahu pounding the ipu in sync with the music, what are the chances that you'll decide on an ipu beat in the next little while?
3. Although it doesn't show it, there will be a crowd on the shore where we meet the missionary, and we are planning to have the mahu escape from that scene with the child in tow.
4. These animatics well go over the initially discussed 2 min time limit—but I'll officially say it here that I'm ignoring the time limit in favor of achieving better timing over-all. As discussed, because these are mostly holds, no extra fee will be applied.
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MAPS
notes:
1. The Fiji map will have the clouds converging on each other, for added depth
2. Do we need labels? And if so, I could add in Kiribas, marshall islands, tonga and samoa in between Hawaii and Fiji.
3. I went a little longer on the Fiji map than the Kauai map because I felt a more accurate sense of distance was necessary (comparatively to the Kauai map).
4. The fiji map will be more cultural than geographical. The fiji map ART DESIGN will start in the Hawaii style we've established, but then run through Tonga, Samoa, and then finally on Fiji. See how that would look HERE—the link will take you to my website, and you'll have to scroll down to see the different culture styles.
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APRIL 12
Begin phase II
Dean Hamer Crude Storyboard v4 LINK
KHA-Part1-intro
runtime: 0:25
00:00 - coming to ancient Hawai'i (canoe men)
00:00-00:18 - from canoe to inner island to diamond head. suggested: abstract transition through forrest that will mirror the escape scene. character animation not necessary, stills of people should be fine (if we even want to place people in this shot)
00:18 - view of diamond head, then pan right to village where we will cross dissolve into video clip of modern-day charter school (needs to be chosen)
00:25 - end
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KHA-Part2-main
runtime: 1:17
00:00 - back in ancient hawaii
00:04 - village people living in aloha (show village including tiki gods, suggestion: canoe repair, taro field, etc)
00:11 - every person had their role
00:17 - male
00:18 - female
00:20 - or mahu
00:33 - mahu as gardian of culture (teaching kid how to dance)
00:50 - american missionaries arrive
00:55 - missionaries shocked
01:01 - mahu escape
01:08 - secret dance
01:13 - begin pan to tree tops, transition to modern day charter school again
01:17 - end
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KHA-Part3-fiji
runtime: 0:09
runtime: 0:09
Notes from the Director
Note for storyboard phase (general)
When we get to storyboard, it will be important that the mahu appears “in the middle” between males in females – either literally in the sense of having a male on on side and a female on the other, or visually in the sense of appearing in the middle as compared to either side of the screem. The reason or this is that throughout the film, “in the middle” is used rather than “mahu” as the verbal description for kids like Ho'onani who are “in the middle” between male and female. We need to do everything we can to help viewers understand this, especially since most people think of gender as a simple binary.
Notes for cross scene
Priest hands start down, but as he raises hands into cross, the other crosses come, one hina curiously touches cross, reacts as if she got burns, and takes off. kid is screen left on top of hill and hina grabs kid on way out.
I like the proportions and detail in the village
Notes for first missionary card
I like having the mahu at the front of the group. The missionary himsef looks non-threatening, so the metaphor of the growing crosses will be important.
Notes for 2nd missionary card
Second missionary card is good with mahu getting “burned” by the cross... will be interesting to see how you make the crosses proliferate
Notes for running away card
Running away card is good. This is a good drawing of the mahu, you can see the hair bun but no breasts.
Notes for fire scene
Fire scene. Great! Love having the mahu and the child profiled in front of the fire.
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Notes for Animators
0:00 black screen
Notes for 2nd missionary card
Second missionary card is good with mahu getting “burned” by the cross... will be interesting to see how you make the crosses proliferate
Notes for running away card
Running away card is good. This is a good drawing of the mahu, you can see the hair bun but no breasts.
Notes for fire scene
Fire scene. Great! Love having the mahu and the child profiled in front of the fire.
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Notes for Animators
0:00 black screen
0:01 - fade in black tapa texture
0:04 First wave crest - white on black
0:08 Second wave - lots of white on black - where most of the black is covered
0:15 Third wave - black and red on a white field -
0:20 all the elements have settled into the the opening canoe composition (canoe appears)
0:28 Camera zooming in slowly. Canoe reaches shore - camera passes them as it proceeds up the shore
0:34 Camera is craning through the trees, up and to the right
0:40 Camera has craned above treetops, and rests in the air. Diamond Head is visible in the distance.
