The tracing tool provides a view of the previous and next panel. A rotating canvas provides the best drawing experience. Add comments, record audio notes and make changes on the fly.ĭraw in any style using raster and vector drawing tools with access to multiple brushes and textures. Change the order of panels, shots and scenes by drag and drop. Go from script to storyboard in a single integrated environment that allows you to visually organize the story as it unfolds – with precise timing. The more creative freedom and artistic power you can use, the better your storyboard results will be. Run the feeling, the excitement, and convey your dream to the audience. New projects get the green light when you can truly tell your story. Develop a story with full artistic control. Storyboard software that combines drawing and animation tools with camera control. That was a huge opportunity for everyone here and I’m so happy we had a chance to be part of it. It was just so refreshing and so exciting to work on a project that had true creative freedom. We really took that to heart and did exactly what we wanted for the short. But for the most part, it’s somebody else coming to us with their idea.įor Duke’s Game, we basically had a blank check to do whatever we wanted. Now we’re breaking out of that and we’re creating our own shows like Hilda. It’s something that wasn’t necessarily available to us because we are, for the most part, a service studio. Tsandilis: I could try more things on the pre-production level, storyboarding and story flow. Once that was set in place, I knew exactly when the scenes were going to cut. I had a very rough track at first, and I think people were being nice when they said, “it sounds awesome.” It didn’t. I’ve never gotten to write music on top of something, and it was way harder than I ever would have thought. Plante: I’d never scored something before. Concept Art of Mouse, the hoverboarding protagonist featured in Duke’s Game Did you learn anything from the production? And was there anything new that you wanted to try? His mouth was such an organic thing that we left it out of the Master Controller. With The Duke, he was the one that we had Master Controllers on, but we didn’t go heavier than just the standard side-to-side, since he’s just a bouncing head. Her mouth is definitely the lightest, as it’s more about mouth shapes rather than proper lip sync. Her head is probably one of the lighter heads I’ve ever seen at Mercury Filmworks. We kept the builds very light so the short would get done on time. Plante: For Mouse, her build is relatively small. It was always done by another department, so this new module gives us a lot of control. It’s an effect that we used at Mercury Filmworks in the past, but that was more of a compositing process and didn’t really allow animators to have a lot of artistic control. Those lines also have an animated texture line, using a new module in Harmony 22 that actually allows us to animate the line texture. We do have textured lines on the character but it’s only to show some details - the texture of the shirt and some of the interior lines that we needed for definition, like the chin line and the interior of the ear. It’s much more forgiving and it’s a lot faster as well. Without those lines, we can place parts on top of each other. Tsandilis: In the past, we’ve always found that using lineless characters actually gives you a lot more freedom compared to having lined characters. What was the approach to rigging these characters? He gives us a little bit of a sense of the world as well - what’s happening, what the game is, and what’s at stake for the players. For us, he was always just some sort of hologram AI character. Tsandilis: It’s never clear if The Duke is actually a real person. And he’s just a real jerk out to show Mouse that the tunnels are his stomping ground, why he’s the champion, and why he never loses. I always knew what he was going to look like. I only draw villains, ugly things, or stuff that’s hiding in the shadows. Plante: Going to Nitro, I love drawing villains. But we found it just flowed better this way without those extra beats. That’s something we talked about: “Is she someone that is partaking in this game willingly? Or is this something that she’s forced to do?” Originally, in early concepts of the story, we had her tied down to the platform and then eventually let go. Tsandilis: Mouse is kind of an unwilling participant in this game. How would you describe the three main characters in Duke’s Game, both in terms of their physicality and personalities?
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