Sunday, January 13, 2008

I've decided to make the interior sets less 'filmy' and more 'theatre-y'. Meaning that i'm going to reduce the number of cuts, and film it more as if you were veiwing a play, or a painting. The film itself being painterly, or almost a painting itself, is a pretty key idea to the whole thing. If I do alot of back and forth cuts, i'll lose that feel. There will be some (reaction shots, etc), but i'm going to reduce them.

The story revolves around a large painting of hell; i've made it so that all the scenes are woven together via the painting - all the events of the story will be represented within. The implication is that the painter, Cornelisz, is painting/making his own doom, and that the doom of hell (hell is pretty damn doomy) is mirrored by the doom of the story. Doom, doom, doom, doom, with a side order of doom. For example, Cornelisz's studio is within the painting too. Ain't that neat. Therefore, for the story to mirror the painting, it's logical that the story itself should therefore appear painterly. This is a bit hard to acheive - so, i'm going to make the scenes appear a bit false - a cross between theatre lighting and Rembrandt lighting.

The upside of this is that my sets can be very suggestive - i'm not trying to 'sell' the sets as being real. They just have to suggest the location, and convey the key points of the architecture.

The downside of this is that the animation shots are going to be very long. On the old films, it never took that long to animate a shot - they were only about 4 seconds long, and usually contained many 'holds' (the character is still, and frames can be added later to extend it if need be). Now, i'm thinking about doing shots that are 20 seconds long.


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