Animation...near complete

I had a lot of issues with the animation as I was going through this module and found myself getting very overwhelmed by the whole task. Looking back at it now I feel like I could have done a lot better on some shots. I made the mistake of not create playblasts of some shots so the animation ended up being quick 'jolty' without myself realising until it was rendered out, at that point it was too late to change anything. I think I'll go back to it at some point and change the shots I'm not happy with, but for hand in it'll have to do. I didn't think I would get it all rendered out and completed on time so I'm impressed with myself that I got this far.

There are some shots where the lighting could be improved upon, the images below show the ones I'm on about. In one shot the man's face catches the light too easily and it can be quite noticeable. I tried turning off the shadows and making his face not casts shadows but this didn't work. In another shot I think I forgot to put another light in, hence the dark forest in the background. Just little things that could easily be fixed if I had a bit more time. I took each image sequence into After Effects to export out and also tried to do any subtle colour correction here. I also created the title and credits in After Effects too.

Sound

I wasn't able to look for a soundtrack for my animation as I didn't think it would be complete on time. I didn't want anyone putting the time in for an unfinished piece of work. What I might do however is to see if someone wants to compose a soundtrack for me after the deadline. It will probably be easier this way as everything will be timed out and no changes will need to be made to the animation.

What I have done is sourced sounds from the BBC Sound Library just so that it helps my animation along. I realise that there are a few sound effects that I'm missing but I wasn't able to find these at a short notice. The soundtrack that I have included will probably just be for temporary purposes, I found it from Soundtrack Pro and just thought it would be better to have a simple sound over the whole animation as without it, I found it quite bland.

I've had to match up the dialogue to the rendered out shots in Final Cut Pro, it's as close as I can get it, but think in some areas it's a bit missed timed. I think next time I'll make sure that both my animation clip and dialogue starts at the same time in order to make it sync up perfectly.

Assets Collaboration

Because my focus for this module was to be animation, I sourced the help of a friend to create my tree assets and the texture for my cabin. I met Arron Walker through twitter and he was a recent graduate from Nottingham Trent Uni. It was a win win situation for both of us, it freed up my own time but allowed him to create more assets for his own portfolio whilst getting experience working with someone else. His previous work is more realistic so it was a good challenge for him to work on my project as I wanted something a bit more stylised to fit in with the design of the characters.

I gave Arron some rough concept art and moodboards to go off of and from here we decided upon pine trees as these were the easiest to create and allowed them to look similar to one another. He did still create a couple of variations, one of them being a tree designed more for the background, he created a feathered texture so this would suit trees further in the distance as to up close. Originally he was just meant to create the texture for my cabin, however once he got my basic model he decided to change it a bit and add in some extra geometry details. He created window panes, planks and made the steps for the cabin more 'worn down'. I really appreciate all he's done for me as it has allowed me to properly concentrate on the animation without having to worry. I trusted his judgement so didn't feel the need to check up on him all the time. The outcomes are great and fit in with each scene really well, I couldn't ask for better especially in the time given for him to complete these assets.

The last image shows how both assets look together within the scene, fully lit and rendered out.

Transmedia Aspect

As part of this module we have to come up with an idea of how our product could be expanded upon to create extended stories, characters or environments. Transmedia surrounds our society so by understanding and thinking about how my animation could be taken into a new medium will only be a benefit myself. By extending stories and characters through different mediums it can open up the world to a whole new audience than what it was originally intended for.

For my animation, I would propose that the story would be extended to the fox's point of view. The last shot you see of the fox is her running off to the woods. She would run back off to see her children and tell them her encounter with a human and how they need to be sly and cunning in order to escape danger. This extension of the story could be to tell children how animals need to be protected and shouldn't be hunted for their fur. The story could be told as an illustrated book to target it to a younger audience, however it could also be part of an anti fur campaign.

I took a pre-existing story and adapted it slightly by expanding on the characters and the environment they inhabited. Recently there has been a lot of animations that have been adapted from short stories and turned into feature films. This shows the versatility of stories and how easily they can be extended. Even though these animated films are still aimed at the same age group, it could still open it up to new people and people who have never heard of the stories before. Animated features are in high demand and by taking a story into this medium it can give the story a new form of popularity. This then can be translated into merchandise and games from that film. This list is extensive, is just needs the marketing and publicity to push it.

Render Tests

I didn't think I would get to the stage where all my shots were ready to be rendered, however this is the case. The animation is some areas aren't as polished as I would have liked but the main 'storytelling' shots are the best I could of got it in the time given. To show my understanding of the whole process I needed to have at least some shots fully rendered out. I'm aiming to get it all rendered but with only 2 days left I'll have to see how far I get.

The image below is a test render I did for one of the shots (the cabin texture my friend created for me still needs to be added in, hence the black object). I changed the colour of the camera environment - this can affect the objects within the scene by adding a subtle colour tint onto them. Even though I'll be rendering each image out with an alpha, I thought I would put this on each camera as it gave me a good idea when I did test renders. I will be rendering out with mental ray as with the Morpheus rig, the skin textures are only visible using mental ray. This also allows me to have a higher polished shot, set on production quality. I have also turned on final gathering, keeping it at it's default setting in order to add in softer shadows and an all round good illumination to the scene. With the lighting, there is just one directional light in each scene with shadow rays turned on. Initially I had kept it on it's default settings, however I found the shadows to be too harsh so I increased the light angle and shadow rays to make them softer.

I really like how the test renders are turning out, the tree assets that my friend has created are great. They really fit well in the scene and the way he has textured them makes them seem soft and works well with the shadows and the style of the environment.

Clothing for Characters

I had some spare time in between animating so I thought I would produce some quick textures for my characters. They're not great in all honesty, but it's what I could do in the short amount of time I had. Ideally I would have liked to have spent longer on the clothes but what I have done is better than the default and the orange jumpsuit test texture. I think I'll go back to this after I've handed in the module and adapt them somewhat, adding in extra details and personalising them some more. I went off my storyboards I created back at the start of the module and created something similar along the lines of 1900's style.

What I found is that it's really easy to add on geometry to Morpheus and for it to also add on the skin weights to the geo. For the woman, I created a basic skirt and all I had to do was select the geometry and the middle control of her, then click a button. Morpheus comes with a lot of scripts and these are what made it so easy to add on the geo. I tested it and it also allowed movement with the rig underneath, this in itself makes morpheus really adaptable and myself as an animator wont need to go through the whole painting weights issue for the clothing.

Dialogue for animation

I wanted to include dialogue in my animation as this helped tell the story, but also allowed me to practice more lip syncing. It would have been nice to get more professional people to do the voiceover, but with time restrictions I just got myself and my friend to do it as I knew what I wanted to achieve and it was much easier and quicker this way. Because I was going to voice both the woman and the fox, I tried to change the pitch and tempo of the recording for the fox. I wanted it to be a bit softer and less harsh than what I created for the woman.

Using both my script and storyboard, I sent this along to my friend to record his part, it ended up taking a few tries as he did several different version and also tweaked things in accordance to my preference. When it came to blocking out the lip sync, all you have to do is just import the sound file into Maya and offset the time if needed. The way I've been doing lip syncing so far, is keying out the opens and closes of the dialogue, where the sound begins and ends. From here I then add in the narrows and wides of the sounds. I use the waveform in the timeline to give myself a basis of where the dialogue begins and ends and I can roughly use the peaks of the waveform to indicate the louder points / harsher sounding words.

The rig I'm using for the man is much more complex than the fox rig and has the ability to change the mouth shape, whereas with the fox the only control is the open and close of the jaw. Because it's not as flexible I will have to make sure the lip sync is spot on as it would be pretty obvious if the mouth didn't match up to the sounds. I will also have to make sure that the performance of the fox matches up with the dialogue and also enhance it.

Issues with animation

I'm progressing with my animation, however I know that it won't all be completed on time for submission next week. I'm going to try and get the most important shots done, polished off and hopefully rendered out. These will be the shots that will shows the most diversity and storytelling. I've struggled a lot with some of the scenes I set out to do, the one that really caused myself problems was the walk through the forest where the man is meant to be sad and defeated. I took reference of myself walking, however I just couldn't seem to get the motion and weight right. I'll work on it some more and hopefully be able to fix it or get it to a standard that I'm okay with.

I think what would have been beneficial for myself, would have been to get accustomed to the rigs before hand. I found that I was learning a lot about the rig as I went and it would have been better to use a rig that I was more used to. The Malcolm rig would have ideal to use as I have used it for previous work and find it really flexible and have a lot more control over it than Morpheus. The reason for using Morpheus was that it was easier to customise and change the appearance in order to make it my own character.

Initially I had planned for my animation to be around a minute, but after putting together the blocked out shots, it ended up being about 1:40. I'm not sure why it extended by so much, the lip sync may have been longer than anticipated and some shots may have been slowed down once I went about animating it properly. I did cut out a few shots that I found were unnecessary and didn't add to the story, however I forgot about other shots, which ended up bringing the total to around 21 shots. I think I've been a bit overwhelmed with this project and may have bit off more than I can choose. I'm going to try and get as much animation as I can do as possible, polishing and rendering out the most important shots. I will need to leave some time before the deadline to gather some sound effects to add in as this will just help move the whole animation along better.

Progression of an Animated Shot: Gothel & Rapunzel Disney's Tangled

The video below shows the progression of an animated shot by Jamaal Bradley who worked on Tangled. It's great to see the whole process and for this project I created pre-viz (layout) in order for me to get the positions of the characters and timing roughed out before I dived into animation. With Jamaal, he also did 2D drawings, other animators I've seen have done thumbnails before animating, so it was interesting to see that extra detail he went into before going into blocking. I can see the benefits of this as it can flush out your ideas more and give you more of a basis to work off, and from here you have a better idea of what you want to act out in the reference videos. It's also good to see how even though he is a male, he does his best to put himself in a female role in order to get the references. I've mentioned in a previous post about the possibility of getting an actor in at another point to take reference from them, as good of as an idea this is, it worries me that I know what I want to get out of it, and whether or not the actor will be able to portray my ideas. A lot of animators take reference from themselves, I need to get better at it and put more emphasis in my actions.

Going through the whole progression you can see the different stages, and how many passes there are for blocking and splining. For myself, I think I need to work on defining the key poses more as when I've attempted it, and then went back to add in breakdowns/in betweens it's come out a bit messy and I've found it easier to just work my way through the whole scene. Most animators will do it Pose to Pose rather than Straight Ahead Action. The advantages of pose to pose is that it is planned out more and this is how key framing works when using the computer. I do work with poses, however I tend to put the breakdowns with the key poses and work with it all at the same time. I'm not sure if this ends up being more time consuming or makes it harder for myself, but I think I need to try defining key frames more and working with breakdowns as this is how it's done in the industry. Everyone works in their own way but when it comes to industry, there will be dailies where you show the progression of your shot, and I need to have the blocking of the key poses done to show. I can't try and have every detail blocked out as there won't be time, that's why it's broken down like it is. It's something I really need to explore and experiment with further.

Another interesting thing is that with the lip sync, it wasn't put in until the spline process. As I've mentioned, everyone has their own way of working, and for myself I've found it useful to block out the lip sync with the blocking of the poses. I picked up this method through Keith Lango, who produces a lot of great animation tutorials. To me it made sense with what he said about blocking, put everything in in order to get a critique because then you know you're showing everything you've got. The director then can see everything, he/she won't have to second guess about something because you haven't put it in yet. For myself as well, I find it easier to put in the lip sync along with the emotion of the face and the reaction of the rest of the body, it just all seems to flow with each other. Your body is always doing something.

It's really useful to see the whole progression of a shot and the specific in-betweens  not just the basic blocking and straight to spline. I'm constantly learning as I go and this is just something to aspire to and to learn from.


Progression of an Animated Shot: Gothel & Rapunzel Disney's Tangled from Jamaal Bradley on Vimeo.

Reference Videos

Throughout this module I've been taking a lot of reference videos of myself as this is something that really helps me block out my poses. It helps me see the movement and how it travels across the body. As I've mentioned before I struggle with trying to put everything into my animations, so by breaking it down into a video I can see the different parts of the body in motion and I can translate this in my animation. With reference videos I know I need to put in more exaggeration and need to think like an actor and not be afraid of letting go. I never enjoyed drama when I was at school and have only recently got in to doing reference videos. A lot of the time it's for me to understand the mechanics of the body, but now I'm moving on to more performance as well. Something to take into consideration, is to possibly bring in an actor next year to really push the performance (more than I would be able to anyway) and see the different results I'm able to achieve.

I've heard a lot of the times that once you're blocking is complete, you should really move away from your reference videos, as this is the time where you can push the poses further and they are just really for the blocking stages. From here it's up to the animators to take it further and put their own spin on things. This reference video, is one that I tried to push a bit further than I normally have in the past. From this I got some good blocking which you can see below. The cameras probably need some adjusting, but animation wise I'm quite happy with it. As it's still in blocking, I haven't gone in and added all the overlap and secondary animation yet, but the end pose - the scream, I used my reference video as a basis and tried to push it that little bit further, especially in the facial expression.

Animation Process

The main focus for myself in this module is the animation, I wanted to push myself further and work with more than one character on the performance and acting of the shots. As I've been working through the shots I've found it quite a challenge in some respects, as I've never really pushed my poses before and trying to achieve more performance is not as easy as I thought it was going to be. I took reference videos of myself but that in itself is something I need to work on. I need to exaggerate more when I do them, I think it's more of a confidence issue and being able to free up and get into the role of my character. In that respect, it's more like acting so I need to be more accustomed to the whole process.

Working my my pre-viz I had worked out the rough timings of each shot and from here I blocked out the main poses in stepped mode, before changing to linear to add in more of the subtle details and then onto spline. Some of the shots that I have been working on have taken me a lot longer than anticipated and has set me back quite a bit on my schedule. At the minute I'm just working through each shot (the majority are all blocked out now) and polishing up the animation. As I've been working through them I've realised I could cut a few of the shots out which will free up some of my time, but also they weren't really needed as they tended to be walking shots. Walking isn't storytelling unless an emotion is portrayed through it, a lot of the time you don't see characters walking to their destination. Instead you see them about to embark and their destination in sight, then in the next shot they arrive. If I had more time I would have liked to keep the shots in, then make the decision when it comes to editing, but at the moment, I have more important shots to complete which attribute more to the storyline.

The animation below is a test I've done with sound. It took me awhile to get the slap sorted, I took a reference video, but also looked at other examples. I think the sound adds more of a believability to it, as without it seems flat. I've added in some extra details, such as the movement/fidgeting when the man is sleeping, I found that without this it was lacking and there needed to be something else. I hadn't really thought about putting this in until the other day and for me, it really makes a difference. I think it still could be improved but for now, I think I'm going to move onto another shot. I find that if I spend too long on one shot I end up adding things that don't need to be there, it's best to get a fresh eye on it on another day. I want to keep adding these extra details in within the other shots, but only when necessary. Before this module I've never really gone into this detail, I've just concentrated on the main pose and left the rest of the body. It's something I need to practice more and get my head around as I always find it quite overwhelming as there is just so much to think about and do, what with overlapping and secondary motion, the little nuances to make it that much more believable. It's a process and hopefully it's something I can keep improving on and will get to a stage where I feel comfortable and happy with what I've produced. 

 

Environment

The environment for my animation was something that I didn't feel was as important as other areas, however I still researched into different landscapes and how forest scenes were translated to animated features. I wanted to keep the whole environment simple and designed in a stylised way. The whole animation is set within a forest, until the man comes into a clearing, so for this I wanted to come up with some tree designs and populate my scenes with them. Luckily I got my friend Arron Walker to design and create the trees for me, he will also be texturing my cabin (as seen below).  I thought it would be best to get someone else to create these assets for me as it would leave more time for me to animate, and also played to his strengths more. The image below shows some quick concepts of trees, I was just trying out a different style and experimenting with shapes. I think that these are a bit too stylised but by taking the bottom left design, we decided to create pine trees but keeping them to a simple design.

The only other things needed for the environment is the floor, sky and maybe some foliage in the clearing scene. For the floor I think I will get a texture online and edit it together with another in order to achieve the look that I want. I'm happy with the direction it's going at the moment and hopefully it'll be really good once it all comes together.

Exaggerated Performance

This animation is an example of an exaggerated performance. It really fits the style and tone of the piece and you can really see and feel the emotions of the character. In animation, you are always told to push your poses and put more exaggeration into it, obviously it depends on the scene itself and the characters you are using. For the animation below, it works, however if I tried to transfer this into my own animation I think it would be a bit too much. As the animation is really stylised and cartoony it makes sense to have an over the top performance. I really do love the whole shot, the performance flows from one pose to another fluidly and the whole dynamic is really powerful.

I would like to do something like this but I don't think it would be appropriate and wouldn't fit too well, as even though my animation is stylised, it's not cartoony enough to pull off the whole exaggerated performance. That doesn't mean however that I can't still push poses and get the extremes, it just won't be as much as the animation below. I've never really pushed my poses far enough before so it will be a new challenge for myself, as I have to make sure that the poses I create will be believable and fit in with the rest of the performance and the story itself.


Muffin Jack & Jeremy - Acting test from Salesman Pete on Vimeo.

Storyboards and Pre-viz

I decided to create a pre-visualisation for my animation (found HERE), this is quite a standard thing to do now within the industry and it's normally the layout team which undertake this part. I did this within a few hours just so I could get a better idea of camera angles and timing of the whole animation. It's very rough and some shots are too fast but it's helped me a lot with understanding the different shots and how it will all look when it comes together. I found it hard deciding upon camera angles without seeing how it would look and work out, so by setting it up and creating some pre-viz it helped make my ideas more concreate, and was also able to see what bits still needed improving upon. Visualising in a 3D space is much easier for me to get my head around, and from the pre-viz I was able to complete my storyboards with my chosen camera angles.

The characters that I used are the ones I'm going to be using for my final animation, using them rather than just any model gives a better sense of how the shot is going to play out and how they would fit within the scene. The trees that are shown were just used for layout purposes, I won't be using these ones as they are just from Maya PaintFx and aren't great. I'm getting a friend to work on the trees for me and using the PaintFx ones, also helped him get a better idea of where I was going to be positioning them and in what quantities. In some places there are no trees visible in the pre-viz, mainly because they were very heavy on my computer's processor and I wasn't able to put them in there, they are drawn in the storyboards however. Because of already working out some of the timing in the pre-viz I don't think it's necessary to produce an animatic, however I may go back and add in the dialogue to the pre-viz once it's recorded in order to see how it will all work out together as a whole.

Character Rigs

For my animation, I have mentioned before about using pre-made rigs. The rigs that I have chosen to use are Morpheus Rig by Josh Burton and a Fox Rig created by mooses on Creative Crash. The images below show the rigs in their standard form. What's great about the Morpheus Rig is that it is fully customisable, body shape, skin colour, textures, you can even add on extra geometry to the character. The UI that's shown with Morphy, is a quick and easy way to change the body shape and features of the face, there are also extra controls built in to change the face shape, it gives you that bit of extra control. The Fox rig, is a simple quadruped, it does the job. I wouldn't have time to build my own and the last one I created needed a lot of changes and fixes for it to work in the correct way. I may change the eye texture at some point, just so it matches with the style of Morphy a bit more.

There's a tutorial on how to change the texture of Morphy, so I will be following that when it comes to creating the clothing texture for my characters. Morphy is really extensive and I think I will be looking more into the features and functions after this module as it has the ability to be changed drastically and this would be a real benefit for myself.

Character Designs / Clothing

As I'm using the morpheus rig, it allows me the flexibility of changing the characters appearance and gender. It's really quite comprehensive and there are also other tools available in order for you to attach other pieces of geometry to the character, and make it deform like the rest of the body when animated. I haven't really had the time to look into these, but it's something I plan to do in my spare time. The image below shows the two characters I came up with when changing around the aesthetic look of the morpheus rig. There is a custom UI built in where you are able to change all the different parts of the body, and there is also other deformers available for that extra control.

The Morpheus rig just comes in a basic grey texture, however this can be changed. I followed this tutorial that was posted on 11 Second Club which takes you through the process of changing out the texture of the grey jumpsuit to the orange one. The original grey texture connection has to be broken in order for you to replace it with a new one and reconnect the smooth node back to the geometry. Following the tutorial, it's a fairly simple process - the orange texture was just what was supplied from the tutorial. You also have to copy the UVs to a new UV set in order for the texture to work. This second UV set is a lot cleaner than the original so when it comes to changing the texture of Morpheus, I would use this orange texture map as a basis and recreate my own.

I have already looked into clothing ideas for the character, but haven't gone into great detail and right now I'm concentrating more on the animation. I'm struggling quite a bit to get everything done on time, but right now the animation is the most important aspect, as if that's not all complete then the story isn't told and my main objective was to produce a decent animation that explore performance. I'll see what can be achieved in the time but it may be that the characters are just in the grey texture for the handin, but I will revisit it after this to complete it all, if this is the case.

Fox and Grapes

This animation is based around Aesop's Fable: The Fox and The Crow, however it has been adapted in a way that changes the story, almost flips it the other way around compared to the original. Not only that but it extends upon the whole story, the scene is established more at the beginning and sets the stage up for both characters. The original fable is quite short and wasn't descriptive in terms of location, so the animation below, created by Frank Tashlin explored this further and adapted it to his own style. It shows how an adapted piece of writing can be transferred into another medium really well and kept interesting and still feels like a new thing. It has been extended by quite some measure as this is about a 7 minute animation, for my one it's only going to be about a minute, but I can easily see how it is possible to extend it by substantial amount. Just padding it out won't work however, there needs to be a reason and a good script behind it to make it work.

This animation is a piece of transmedia, the story has been adapted but has reference to it being an Aesop Fable, and the fox and the crow characters have been used again but this time in the form of animation. By creating an animation, people are able to see the story in a visual way and this also allows for more exaggeration and personality to come through in the characters. It also brings the story into modern day, the fables themselves have been around for a long time and creating an animation is more current and can open it up to a new audience.

Transmedia

As part of the responsive brief, one aspect is to make what we're creating transferrable across different mediums, so it becomes transmedia. Not only is it story, but characters, and sometimes environment too that can be cross transferrable. FMX Conference which is going on right now in Stuttgart, Germany is a conference on animation, effects, games and transmedia. The video below is a clip from yesterday giving an overview of transmedia and how it's not about a story changing for a new medium, but it should carry through and be an extension. Transmedia is a very common thing today, what may have started out as just a story, can now be branched out into a huge franchise, books, films, games, comics, toys, the list goes on. It's interesting to see that conferences are addressing this topic too, by covering a range of different mediums and seeing the link between all of them. It brings people together and also opens up the story or characters to a new audience in a new medium.

Whatever we create, we should consider the life it has after. Things can be changed and added on to, create new stories to tell. As it is now a common thing, it's something to really take into consideration, everything can be easily moved between mediums, even more so now because of technology. For my piece I'm not fully decided on what would be transmedia but either the story or characters would be transferrable.

El Vendedor de Humo

This animation, originally I liked for the style and story, but looking back at it now, it's a really good example of how an animation doesn't need dialogue in order to get across the meaning and actions of the characters. By just using gestures and certain poses and expressions, myself as the audience was able to grasp what each character wanted and it was made pretty clear. I was really torn whether or not I should include dialogue in my animation, as by just using gestures and expressions it would give me a good chance to practice performance, but I found in some areas it would be hard to put across the context without dialogue. It brings to mind that if I were to create a non-spoken animation, the story would have to accomodate for this. The animation below is one that can be either with or without dialogue and I think either way, it would work. It's not an English animation so it makes me think that without dialogue there is no issue of language barriers, everyone knows gestures and emotions and if done right, the audience should know exactly what the creators intended.

Just because my animation will have dialogue in it, I think it's important to realise that the performance, gestures and emotions should still be as clear as if there was no dialogue. The emotion of a specific scene should be able to come across without the need of anything but the character itself. El Vendedor de Humo makes each scene clear with the animation, but also the tone is shifted with the lighting. I need to keep all these things in mind when creating my animation, especially when I do my reference videos as this is where I can really act it out, and get a feel for the scene and what I want my animation to look like.


El Vendedor de Humo from PrimerFrame on Vimeo.

Script and Beat Sheet

I began writing up a script for my animation as this would take me through the proper workflow of the whole production, rather than just going straight to storyboarding. There's more to work with and seeing as I'm going to have dialogue in my animation, it's an easier way to lay things out and I can then refer to both my script and storyboard when it comes to creating the animation. You can view the script here: Script

It probably could do with expanding upon and giving some more description. If it was in a real production and was to be passed onto storyboard artists, they would need more information in order to create the drawings. When it comes to creating my next animation I'll be sure to expand on my script more as I might use someone else to create the storyboards. Due to time constraints I really need to get onto storyboarding and finishing it soon as I will need to start animating by next week, if I have a chance of completing it all on time.

From the script I also created a beat sheet, this breaks down the script into main sections from which I can identify specific sections, the mains 'beats' to storyboard. The next stage will be to create a shot list which would show the camera movements in more detail and also if the shot would be a close up, wide shot etc.