DIRECTION
After we consulted the faculty about ways we could possibly strengthen our narrative, our Director tasked herself in utilizing that advice so we could craft Vala into a more empathetic character while simultaneously remaining true to the heart of the Ley Lines game. Together with the Layout Artist and Producer, we decided to show more signs of Vala's struggle as she reaches to purify the last Ley Node. Vala is seen staggering, injured, and nearly desperate to purify the last crystal that (she hopes) will end this struggle between her and the Grand Centipede once and for all. Rather than keep the balcony scene we showed at the end of our first storyboards, we decided on crafting a more ambiguous ending. In this new end, Vala collapses onto the ground and she looks up to the uniting lights. She finally feels peace and relief. It will be up to the viewer to determine if she later dies, or ultimately survived her struggle and the damage she sustained through it.
Along with this, our Director worked with our Production Designer to determine the "look" we will be trying to achieve, if that will flow with the already-established look, and if it's something we can achieve in the allotted time. She then met with the Producer to begin roughing out feasible schedules so we could keep true to the iterative process and produce the highest quality assets we can. She also communicated in depth with the Layout Artist, Lighting, and Sound so we could achieve the various moods we have illustrated in our current story reel.
Our Director has also found an Audio Engineer that is willing to work on sound effects and music for the cinematic. He is currently working on our sound library. Music production will begin when our story reel is solidified.
PRODUCTION
As the supreme office lady of the group, my first order of business for this “Sprint” – as it could be referred – was to organize a team meeting so we could discuss everyone’s assignments for the week. Ahead of this meeting, I consulted with the Production Designer + the Director about potential assignments for each of the specialties and documented them accordingly. During the meeting itself, we discussed these potential assignments and used them as a jumping off point to determine what each group member will be working on until Thursday. Then everything rolled on from there.
This week around, we have also been working on recording each of our processes. Detailed explanations of our thought-processes, workflow, and deliverables will be present on our Blogger. These tasks will be summarized far more succinctly on Google Slide presentations in hopes of our being as transparent as possible with everything we have been working on for the entirety of the week.
Though we’re still early into the storyboarding process, I tasked myself with creating asset lists of everything we might need for the cinematic as it stands right now. Of course, this isn’t close to being the final list as it will undergo iteration until the storyboards & story reel is finished.
After this, I took a stab at making a very rough schedule based on our course outline, what’s currently in development for the Ley Lines game, and a schedule outline I found from the cinematic groups from last year. Mind you, this schedule is extremely rough. It’s an attempt of mine to keep the iterative processes into account, our team’s current workload, and the fact that our cinematic should be “complete” by July 14th to undergo review at least two more times. In the coming week, I will be going over scheduling down to the asset with our Director to ensure our artists’ time is being utilized efficiently.
One of my secondary duties is ensuring narrative flow. Given the amount of additional work that needed to be done to strengthen our story reel, I thought it a far more efficient use of my time to continue aiding our Director on our storyboards. Alongside our Layout Artist, we added in a new beginning sequence and changed up the ending. We show more of her physical struggle. She’s limping, she’s wounded, and she’s bleeding and struggling to get to the final Ley Node. By the end, her fate is left far more ambiguous. Whether she survives after her confrontation or doesn’t is left up to viewer interpretation.
By going for this more symbolic route and resolution to the Ley Lines game, we have also eliminated some technical challenges along the way that would have taken more time than what it was worth [ for instance, the stair climbing sequence ]. We will also be able to used more varied and dynamic camera angles to capture a more serene feel to the story.
This week around, we have also been working on recording each of our processes. Detailed explanations of our thought-processes, workflow, and deliverables will be present on our Blogger. These tasks will be summarized far more succinctly on Google Slide presentations in hopes of our being as transparent as possible with everything we have been working on for the entirety of the week.
Though we’re still early into the storyboarding process, I tasked myself with creating asset lists of everything we might need for the cinematic as it stands right now. Of course, this isn’t close to being the final list as it will undergo iteration until the storyboards & story reel is finished.
After this, I took a stab at making a very rough schedule based on our course outline, what’s currently in development for the Ley Lines game, and a schedule outline I found from the cinematic groups from last year. Mind you, this schedule is extremely rough. It’s an attempt of mine to keep the iterative processes into account, our team’s current workload, and the fact that our cinematic should be “complete” by July 14th to undergo review at least two more times. In the coming week, I will be going over scheduling down to the asset with our Director to ensure our artists’ time is being utilized efficiently.
One of my secondary duties is ensuring narrative flow. Given the amount of additional work that needed to be done to strengthen our story reel, I thought it a far more efficient use of my time to continue aiding our Director on our storyboards. Alongside our Layout Artist, we added in a new beginning sequence and changed up the ending. We show more of her physical struggle. She’s limping, she’s wounded, and she’s bleeding and struggling to get to the final Ley Node. By the end, her fate is left far more ambiguous. Whether she survives after her confrontation or doesn’t is left up to viewer interpretation.
By going for this more symbolic route and resolution to the Ley Lines game, we have also eliminated some technical challenges along the way that would have taken more time than what it was worth [ for instance, the stair climbing sequence ]. We will also be able to used more varied and dynamic camera angles to capture a more serene feel to the story.
These were the storyboards I did for this week. I passed them right along to our Layout Artist for her to turn into a story reel.
LAYOUT
Early on this week, our Layout Artist met up with the Director + Producer about the narrative direction our story reel will take. We established the alterations to the story together in hopes of making Vala more of an empathetic character for our viewing audience. Our Layout Artist determined the camera angles & composition for each of the new storyboards that were crafted. After the alterations were completed, Ashley spliced the images together on Premiere Pro so we could have a better sense of both timing and movement for the entirety of the cinematic piece.
Along with this, Ashley consulted with our Lighting Lead on what direction we will be taking for this entire piece and how the various moods can be accomplished.
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