Monthly Archives: April 2017
Draft Animation Storyboard
First Revised Animation Characters
First Revised Animation Script
FADE IN
ESTABLISHING SHOT OF DEALERSHIP
A young man, ERNEST, has never felt the same since his wife died. He is desperate. He steals a car from the dealership.
ERNEST stares into the distance. There is a flashback and he sees his wife’s face. Back in the present, he sighs.
MEDIUM SHOT of driving
On his way home he notices the headlight flickering. He pulls over and fiddles with the headlamp.
MEDIUM CLOSEUP OF HEADLAMP
He gives it a kick and it stops, and keeps going on his way. It starts up again. The man goes out to inspect the front of the car.
CLOSEUP OF ERNEST’S FACE
He looks at the headlamp and swears he could see a shape moving around in it.
CLOSEUP OF HEADLAMP, FACE-ON
It stops after a while, ERNEST is driving again on the road. All of a sudden it starts strobing violently. As he is driving the police officer calls him to pull over.
TWO SHOT
CONSTABLE: Pull over, young man, You are going to have to get that headlight fixed. Wait a minute, that’s the car that was stolen from the dealership! I can’t let you have that.
ERNEST: I swear, I just need a chance to-
As they are talking, a silhouette moves across the headlight. Thrashing about
ERNEST: Did you see that?
CONSTABLE: Wait, Wha-
Ernest: Something moved, in there.
CONSTABLE: Stop playing games, son, you’re under arrest
ERNEST: But…
The silhouette starts to calm down slightly and appears to be huddling in a corner of the headlamp. ERNEST is staring at it intently. Then the silhouette turns around and blinks at him. The officer moves towards EREST but then stops too. The silhouette moves towards the silhouette of a headstone in the headlamp. The hat the silhouette wears is familiar to ERNEST.
SUDDEN FLASHBACK
CLOSEUP
Ernest remembers his deceased wife in the same hat. A familiar looking car hitting her flashes in his mind.
Back to the present
ERNEST: Sorry officer, I have to go now
CONSTABLE: Now stop right there, you are under arrest!
ERNEST goes into the car and drives off. The officer is in pursuit.
CUT to headstone. It reads “IN MEMORY OF CLAIRE WILLOW”
ERNEST’S car drives in from offscreen. The headlight is blinking steadily.
ERNEST goes up to the grave.
ERNEST: It was her. It was her all long.
ERNEST collapses and the officer moves to take him in.
FADE TO BLACK
CUT forward in time
ERNEST is in the holding cell after being questioned
ERNEST: I have to see her one last time
Suddenly, the car crashes through the cell from the impound lot.
ERNEST is on the floor, stunned.
ERNEST: It’s really you, isn’t it?
He climbs in to the car while saying this.
CUT
He is driving away
ERNEST: So its really you, isn’t it?
The left mirror flashes, the outline appearing in it
ERNEST: I want to be with you forever.
He drives into the distance.
CUT to car approaching the docks, driving off.
Cut to front end of car falling in.
FADE TO BLACK
Final Game Props
Final Game Screens
Final Game Environments
Clyde’s bunker: Clyde keeps his house in disrepair, as all he cares about his food. There are a lot of dangerous items left around for the children. There are a lot of hazardous chores that the children are made to do here. The kitchen is featured prominently in this location. The stove is very strange and worries the children.
Black Market Hub: Foreman Clyde sends the children on dangerous errands in this area. There are many unscrupulous people here. It is said to smell like a diseased swamp. Everything is pushed into the shadows, and the stalls are portable, ready to evacuate at a moments notice.
Banesville: This town is in the middle of nowhere. It is isolated and it is hard to find anyone of importance should help be needed. There are small shops along the main street selling items as diverse as flight technology items to jelly beans. The weather is known to be unpredictable. The authorities are in the town connected to it by a long stretch of highway.
Town Outskirts with Clyde’s Bunker
Final Game Characters
Foreman Clyde: He is put in charge of the Lockwood siblings. He is a man in his late 30s who has a government job. He is careless and likes to drink a lot. He takes pleasure at casual misfortune. He gets irrationally angry at loud chewing noises. This glutton will do anything to the children if it can get him more food and drink. Under his care they are constantly pulling dangerous stunts. He forces them into crazy schemes for him.
Blake Lockwood: Blake is a girl who is fifteen years old. Blake is very resourceful and has an interest in engineering. Her mechanical interest allows her to get out of some tough situations. Her experience with authority is to be suspicious. Whenever she tries to tell an adult something important, they never believe her. She has to do a lot of work to get them to trust her, and when they do, it is often too late
Chris Lockwood: Chris is a boy who is 13 years old. Chris is more gullible than his older sister. He is more willing to give authority the benefit of the doubt. This usually ends badly for him. He is very interested in researching various subjects. Once something gets his attention he develops a fixation for it. It has helped him out of tough situations. He is able to memorize many random factoids.
Foster Floundering Final Game Design Document
The character is a child and must gather evidence of the atrocities being committed against them by their legal to present to authorities. The people who are supposed to be in charge are oblivious and it is hard to convince them. This game is intended to expose how some, but not all, foster parents can be terrible and exploitative to children. It takes some inspiration from A Series of Unfortunate Events. The player will be able to explore the house they are in and try to avoid harm coming to them. It attempts to put their destinies into their own hands. It will be in a retro-futuristic style, blending science fiction elements with those of the past.
Draft Animation Script
FADE IN
A young man, ERNEST, is going to buy his first car. He goes to the dealership and pick out an aqua Chevy Fleetmaster.
ESTABLISHING SHOT OF DEALERSHIP
MEDIUM SHOT of driving
On his way home he notices the headlight flickering. He pulls over and fiddles with the headlamp.
MEDIUM CLOSEUP OF HEADLAMP
He gives it a kick and it stops, and keeps going on his way. It starts up again. The man goes out to inspect the front of the car.
CLOSEUP OF ERNEST’S FACE
He looks at the headlamp and swears he could see a shape moving around in it.
CLOSEUP OF HEADLAMP, FACE-ON
It stops after a while, ERNEST is drving again on the road. All of a sudden it starts strobing violently. As he is driving the police officer calls him to pull over.
TWO SHOT
CONSTABLE: Pull over, young man, You are going to have to get that headlight fixed.
Ernest talks as he gets out of the car.
ERNEST: I swear, officer, I got it to stop a minute ago.
As they are talking, a silhouette moves across the headlight. Thrashing about
ERNEST: Did you see that?
CONSTABLE: What?
Ernest: Something moved, in there.
CONSTABLE: Stop playing games, son.
ERNEST: But…
The silhouette starts to calm down slightly and appears to be huddling in a corner of the headlamp. ERNEST is staring at it intently. Then the silhouette turns around and blinks at him. It then does a mock “play dead” gesture.
SUDDEN FLASHBACK
CLOSEUP
Ernest remembers a grave on the side of the road he always saw.
Back to the present
ERNEST: Sorry officer, I have to go now
CONSTABLE: Now stop right there!
ERNEST goes into the car and drives off. The officer is in pursuit.
CUT to headstone. It reads “IN MEMORY OF CLAIRE WILLOW”
ERNEST’S car drives in from offscreen. The headlight is blinking steadily.
MEDIUM SHOT, FRONT OF THE CAR.
The car rattles as the headlights start increasing in their blinking again. A ghost comes out and puts her hand on the headstone. Then looks to the two men. They both stare back in shock. She is then released, appearing to dissolve away.
Animation Characters
Animation Pitch Ideas
-A group of people are stranded on an island. They must master an aspect of the island to escape, and discover something about themselves while they do it.
-A ghost is trapped in car headlights and must learn to communicate to escape.
-The apocalypse is starting. Four people must stop it rather than causing it.
Music Video Script
Title of Music Video: Mouth Moods: The End
Name of Creator: Niel Cicierega (remix)
(source material from Linkin Park and Doobie Brothers)
Time | Visuals | Lyrics / Music / Sound FX |
undefined | In this column, include a description of the visuals, action, graphics, etc. and the camera direction, transitions, etc. Add all important info we need to know.
CAPITALIZE all names, use the same abbreviations for camera info as in the other storyboard template. |
In this column, describe the music, write the lyrics, and add sound FX.*to the beat of “What a Fool Believes”-Doobie Brothers |
0:32-0:46 | Clock ticking, fade to black | Didn’t look out below, watched the time go right out the window Trying to hold on, didn’t even know I wasted it all just to watch you go I kept everything inside And even though I tried it all fell apart What it meant to me will eventually be a memory of a time when I |
0:47-1:04 | SKELETON looks at screenCut to SKELETON STARTING to fall
Falls in slow motion Cut to SKELETON hitting the ground with a flash |
I tried so hard and got so far But in the end, it doesn’t even matter I had to fall to lose it all But in the end it doesn’t even matter |
1:04-1:11 | Start cut on SKELETON JESTER’s face and zoom out. SKELETON JESTER is juggling to the beat of the music. | One thing, I don’t know why It doesn’t even matter how hard you try Keep that in mind, I designed this rhyme to remind myself how |
1:11-1:14 | Cut to Close-up. The balls fall on the SKELETON JESTER’S head to the beat of the music. | (I tried so hard) In spite of the way you were mocking me |
1:14-1:20 | A colorful wave pattern wipes in. Its frequency is to the beat of the music | Acting like I was part of your property Remembering all the times you fought with me I’m surprised it got so [far] |
1:20-1:29 | SKELETON heads flow into the frame, left to right undulating on the pattern… | Things aren’t the way they were before You wouldn’t even recognize me anymore Not that you knew me back then But it all comes back to me in the [ennndd] |
1:29-1:35 | The amount of heads on the pattern increases, getting crowded… | I kept everything inside and even though I tried, it all fell apart What it meant to me will eventually be a Memory |
1:35-1:37 | The rest of the pattern wipes off the screen, fading to the next scene | of a time when I (tried so hard) |
1:36-1:43 | A hole fades on to screen, pulsating lightly and growing in size. | I tried so hard and got so far But in the end, it doesn’t even matter |
1:42-1:50 | SKULLS start to fall in. The hole increases in size as the camera zooms out. | I had to fall to lose it all But in the end it doesn’t even |
1:50-1:53 | The hole is so large and SKULLS are so small that they are barely perceptible. The hole makes the whole screen black. | Matt-er |
1:53-1:57 | Cut to medium-long shot of door | I put my trust in you |
1:57-2:01 | Cut to medium shot with SKELETON with hand on door | Pushed as far as I can go |
2:01-2:03 | SKELETON opening door | For all this |
2:03-2:09 | Flip 179° to cut to other side of door, medium-long shot | There’s only one thing you should know |
2:09-2:13 | Camera tilts back, revealing door is leading to nothingness | I put my trust in you |
2:13-2:18 | Camera continues tilting, while dollying downwards and away | Pushed as far as I can go |
2:18-2:19 | Cut to the dark chasm | For all this |
2:19-2:25 | SKELETON falls into frame | There’s only one thing you should kno |
2:25 | SKELETON falls out of frame | -ow |
2:25-2:33 | Close-up of SKELETON head. Blinks once | I tried so hard and got so far But in the end, it doesn’t even matter |
2:33-2:43 | Cut to medium shot of SKELETON waving hands right to left and back | I tried so hard and got so far But in the end, it doesn’t even matt-er |
2:43-3:32 | Camera continuously zooms out slowly while spinning away. Gentle light pulsating until end of music. | (It doesn’t even matter how hard you try) (It doesn’t even matter how hard you try) (It doesn’t even matter how hard you try) (It doesn’t even matter how hard you try)I tried so hard (I don’t know why) *Repeated to end* |
Music Video Storyboard
PSA Script
FADE IN:
INT. DOUGLAS’ HOUSE – TV ROOM
DOUGLAS: Hmph. These are all theories. Why should I care about all this theorizin’
DI: actually, that’s not what “theory” means in this case
FROM GLASS ON DINING TABLE
DOUGLAS: What?
BACK TO TV ROOM
DI: Time to learn the scientific method. First you formulate a testable hypothesis. Then you make a testable prediction. Then carry out the experiment. When the data confirms the experiment then you can have a theory.
DOUGLAS: So it’s the hypothesis that’s more like guessin’
DI: And a scientific [emphasis] theory is often only called that when the experiment has been reproduced multiple times and peer reviewed.
DOUGLAS: So it’s not just one person either
DI: Right! Happy to explain anytime![EVAPORATES AWAY]