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Morriperkele In reply to Adalore [2013-04-02 17:27:07 +0000 UTC]

Best defense.

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Morriperkele In reply to shakken [2013-04-02 15:49:11 +0000 UTC]

If I flipped panel 2 and 11... that would fix both problems right? or at least makes it consistent.

No wait the orange robots are the antagonists. I mean they are in a war... so maybe neither are good? Though maybe flipping the brain panels make sense.

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shakken In reply to Morriperkele [2013-04-02 17:26:31 +0000 UTC]

Just did the quick headwork; that would mean flipping panels 2,5,6,7 and 11!

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shakken In reply to shakken [2013-04-02 17:27:42 +0000 UTC]

Doh! Sorry not 5.
2,6,7,8 and 11~

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shakken In reply to Morriperkele [2013-04-02 17:24:43 +0000 UTC]

Well think of the character that advances your plot as the protagonist~ so considering you're opening and ending with the humanoid dummy bot you could consider him the protagonist and main character of your story

So yeah, flipping the brain panels around would visually set them up as the antagonistic force.

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Morriperkele In reply to MrScade [2013-04-02 15:38:33 +0000 UTC]

It's in correct order. But it does jump around between the perspectives of the brain and the intruders. Dunno how to mark that in a storyboard. Also it's missing the text I usually write below the pictures. But this is how I make the storyboards for myself, so they're pretty confusing without the explanation.

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MrScade In reply to Morriperkele [2013-04-02 15:45:42 +0000 UTC]

Well, what works with one person might not work with another.

When I say "disconnection" I mean that it feels as if there were missing scenes. For examples, from the fish eye perspective on panel one, to the "ant's view" on panel two there is a huge discrepancy. Panel three, the long shot with what appears to be the bunker's entrance would've made a better first scene. It stablishes where the soldiers are (a desert, looking for something), while the fish eye perspective shows us the sky. Where nothing really happens. I don't know if I am making much sense there.

There exists a coded system of scene cuts. Between panels you draw, say, a small cube with a transversal line cutting it into two triangles. THat symbol will mean a regular cut. But that is editing. As I said, to mark the order, numbers are the best. To mark things like pannings and camera movement, you usually draw a bigger scene, frame the part of the scene you want first, and then draw an arrow as you have done so.

Also, what is up with the bunny? It just makes me laugh!

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Morriperkele In reply to MrScade [2013-04-02 16:02:10 +0000 UTC]

Yeah I don't know how to show time in storyboards so I'd have to explain these for anyone to understand. I don't exactly know how to do storyboards in general, but this is what I do for myself.

Just as a brief explanation the first shot would be long establishing shot of a desert, and then cut to mysterious figures shuffling through it in the second panel. The long shot is a mechanical thing noticing the intruders and the brain being alerted. The scene with the bunny is a scene within the virtual reality that the brain is in... playing pong with the virtual bunny. The brain then orders a crate of grenades to be dropped through a teleporter into the base entrance... which was my favorite defense tactic in the game.

I started animating bits of this, but dropped it since no one outside of that game would know what was going on <_<

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MrScade In reply to Morriperkele [2013-04-02 16:16:21 +0000 UTC]

There is a program called Storyboard Pro. You might like to take a look at it!

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Morriperkele In reply to Teikon [2013-04-02 15:32:25 +0000 UTC]

Brain playing pong with a bunny. Shuffling through menus to buy a drop box full of grenades. Dropping it through a teleporter into the reinforced bunker entrance.

I dropped the project because no one would know what was going on.

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