For the screen direction example in Spongebob at 2.55, can screen direction be changed for story reasons from one episode to another?
Because I’m pretty sure to have seen, in some episode, Spongebob and Squidward approaching the Krusty Krub entering from the left side of the frame, and in some other episode it seems that the Krusty Krab and Plankton’s restaurant are almost one in front of the other…
Hi Riccardo — it seems that every different animated show has its own “rules” about how the reality and the geography work. SpongeBob has a very flexible world…we usually would not mess with the relationship between SpongeBob and Patrick’s and Squidward’s houses. But with other elements like the Krusty Krab and the Chum Bucket, the only thing to worryt about was that the screen direction stay consistent withing that particular episode. It’s no fun getting tied down by the placement that existed in a previous show. On my current show, “Fish Hooks,” our world is pretty flexible, too. I understand that Family Guy and the Simpsons are very firmly nailed down into an unchangable universe.
Great lesson! My favorite part, was your explanation of story pacing and structure towards the end. A lot of people (including me) tend to take writing and basic story structure for granted, and I’m glad you highlighted the importance of that!
Hi Kim — I’m glad you enjoyed that session — story is a huge passion for me. All artists are writing (whether they know it or not) so it’s always important to have a solid understanding of storytelling techniques.
Great lesson. Storytelling and building up the action is hugely important, and remembering to save those moments for key points in the story was good to hear.
hey there sherm, so i’ve been praticing my drawing pace along with praticing storyboarding overall and i’ve been wondering for a bit, since now the vast majority of show have switched to digitally drawn board, has the average of 15 pages a day gone higher or is it more or less the same?
Hey Leo, I noticed this post is a few months old now but thought I’d reply since I was here re-watching some of the tutorials. I’m not sure if we do things a bit differently here in Australia to everywhere else, but I’ve found with most of my boarding jobs recently they are broken down to these kind of timelines…
(based on a 10-15 min episode)
1 week to thumbnail the episode and get the big ideas down
2 weeks for roughs
2 weeks for cleanup
+final revisions (no more than a week usually)
Everything is done digitally and you’re basically expected to put a rough edited animatic together with all the voice acting timed out. The time-frames differ a bit from show to show but this tends to be what I am averaging. I won’t lie… it’s pretty tough and I wish they gave us a bit more breathing room.
Anyways, hope this helps! I’d be interested to know what sort of time-frames others were working to in comparison.
For the screen direction example in Spongebob at 2.55, can screen direction be changed for story reasons from one episode to another?
Because I’m pretty sure to have seen, in some episode, Spongebob and Squidward approaching the Krusty Krub entering from the left side of the frame, and in some other episode it seems that the Krusty Krab and Plankton’s restaurant are almost one in front of the other…
Hi Riccardo — it seems that every different animated show has its own “rules” about how the reality and the geography work. SpongeBob has a very flexible world…we usually would not mess with the relationship between SpongeBob and Patrick’s and Squidward’s houses. But with other elements like the Krusty Krab and the Chum Bucket, the only thing to worryt about was that the screen direction stay consistent withing that particular episode. It’s no fun getting tied down by the placement that existed in a previous show. On my current show, “Fish Hooks,” our world is pretty flexible, too. I understand that Family Guy and the Simpsons are very firmly nailed down into an unchangable universe.
Great lesson! My favorite part, was your explanation of story pacing and structure towards the end. A lot of people (including me) tend to take writing and basic story structure for granted, and I’m glad you highlighted the importance of that!
Hi Kim — I’m glad you enjoyed that session — story is a huge passion for me. All artists are writing (whether they know it or not) so it’s always important to have a solid understanding of storytelling techniques.
Great lesson. Storytelling and building up the action is hugely important, and remembering to save those moments for key points in the story was good to hear.
hey there sherm, so i’ve been praticing my drawing pace along with praticing storyboarding overall and i’ve been wondering for a bit, since now the vast majority of show have switched to digitally drawn board, has the average of 15 pages a day gone higher or is it more or less the same?
awaiting eagerly your response
Hey Leo, I noticed this post is a few months old now but thought I’d reply since I was here re-watching some of the tutorials. I’m not sure if we do things a bit differently here in Australia to everywhere else, but I’ve found with most of my boarding jobs recently they are broken down to these kind of timelines…
(based on a 10-15 min episode)
1 week to thumbnail the episode and get the big ideas down
2 weeks for roughs
2 weeks for cleanup
+final revisions (no more than a week usually)
Everything is done digitally and you’re basically expected to put a rough edited animatic together with all the voice acting timed out. The time-frames differ a bit from show to show but this tends to be what I am averaging. I won’t lie… it’s pretty tough and I wish they gave us a bit more breathing room.
Anyways, hope this helps! I’d be interested to know what sort of time-frames others were working to in comparison.