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Friday, 25 June 2010

the tong master story board up date

i hve started to develop quik roughf story bourd idews for  the tong master anmatic  i have already started to run into a problem my brief is to create a 90 secon anmatic  wel the way things are going its looking like this idea will be over that so i need to eather edit it doun a bit or start looking at righting a new idea my the key is to have a few story s then develp it the problem i face is  i havent got much time and i realu want to get this done so i can get on with my visuely culter witch i have a referl for so i reely need to mage my project better than the last time  i didnt wich cosed me to get this referl i gues in a way its good cose i get anouther chance to work at preproduction stuf doun side is i wanted to get some model making done and i just dnt have to much time so im focusing on this i think i might take a couple of days to deleop a story or new skript eather way i dnt want to waste any more time

Tuesday, 22 June 2010

Saturday, 19 June 2010

the tong master





the tong master story

The Tong-Master Griff was at the barbecue and Joel was at the barbecue and I was at the barbecue; three men standing around a barbecue, sipping beer, staring at sausages, rolling them backwards and forwards, never leaving them alone. We didn't know why we were at the barbecue; we were just drawn there like moths to a flame. The barbecue was a powerful gravitational force, a man-magnet.
Joel said the thin ones could use a turn, I said yeah I reckon the thin ones could use a turn, Griff said yeah they really need a turn it was a unanimous turning decision. Griff was the Tong-Master, a true artist, he gave a couple of practice snaps of his long silver tongs, SNAP SNAP, before moving in, prodding, teasing, and with an elegant flick of his wrist, rolling them onto their little backs. A lesser tong-man would've flicked too hard; the sausages would've gone full circle, back to where they started. Nice, I said. The others went yeah.
Kevin was passing us, he heard the siren-song—sizzle of the snags, the barbecue was calling, beckoning, Kevinnnnn . . . come. He stuck his head in and said any room? We said yeah and began the barbecue shuffle; Griff shuffled to the left, Joel shuffled to the left, I shuffled to the left, Kevin slipped in beside me, we sipped our beer. Now there were four of us staring at sausages, and Griff gave me the nod, my cue. I was second-in-command, and I had to take the raw sausages out of the plastic bag and lay them on the barbecue; not too close together, not too far apart, curl them into each other’s bodies like lovers — fat ones, thin ones, herbed and continental. The chipolatas were tiny, they could easily slip down between the grill, falling into the molten hot-bead-netherworld below. Carefully I laid them sideways ACROSS the grill, clever thinking. Griff snapped his tongs with approval; there was no greater barbecue honour.
P.J. came along, he said looking good, looking good — the irresistible lure of the barbecue had pulled him in too. We said yeah and did the shuffle, left, left, left, left, he slipped in beside Kevin, we sipped our beer. Five men, lots of sausages.
Joel was the Fork-pronger; he had the fork that pronged the tough hides of the Bavarian bratwursts and he showed a lot of promise. Stabbing away eagerly, leaving perfect little vampire holes up and down the casing. P.J. was shaking his head, he said I reckon they cook better if you don’t poke them.
There was a long silence, you could have heard a chipolata drop, and this newcomer was a rabble-rouser, bringing in his crazy ideas from outside. He didn’t understand the hierarchy; first the Tong-master, then the Sausage-layer, then the Fork-pronger — and everyone below was just a watcher. Maybe eventually they’ll move up the ladder, but for now—don’t rock the Weber.
Dianne popped her head in; hmmm, smells good, she said. She was trying to jostle into the circle; we closed ranks, pulling our heads down and our shoulders in, mumbling yeah yeah yeah, but making no room for her. She was keen, going round to the far side of the barbecue, heading for the only available space . . . the gap in the circle where all the smoke and ashes blew. Nobody could survive the gap; Dianne was going to try. She stood there stubbornly, smoke blinding her eyes, ashes filling her nostrils, sausage fat spattering all over her arms and face. Until she couldn’t take it any more, she gave up, backed off. Kevin waited till she was gone and sipped his beer. We sipped our beer, yeah.
Griff handed me his tongs. I looked at him and he nodded. I knew what was happening, I’ waited a long time for this moment—the abdication. The tongs weighed heavy in my hands, firm in my grip. Was I ready for the responsibility?
Yes, I was. I held them up high and they glinted in the sun. Don’t forget to turn the thin ones Griff said as he walked away from the barbecue, disappearing toward the house. Yeah I called back, I will, I will. I snapped them twice,
SNAP SNAP, before moving in, prodding, teasing, and with an elegant flick of my wrist, rolling them back onto their little bellies. I was a natural, I was the TONG-MASTER. But only until Griff got back from the toilet.

the tong master

Today i started to think about an idea for a script  for a fim or well thee preproduction side of it  thought about it for a while   spoke to my house mate about getting ideas and he sead to look at funny news papper headings  witch is a good idea  after looking  i went on you tube  just for some time to give my braine a rest after looking   and  well i came acrouse a video witch has been done in live action its called the tong master
after watching it i thought i was prety good  so i thought it would be reely nice idea to make in to an anmated short fillm so i contec te 1 gye who had posted it and  i found the details of the  person who had wrot the story   Danny Katz so i went on the blog for her contact details  to ask if they wouldn't mind me using this idea for a animation im sure they wouldn't mind as a few people have  done there own version  be posting a video link to the film  and also a copy of the  story on my blog as research for the development of this production ile

Wednesday, 9 June 2010

character of me

Sunday, 6 June 2010

Creating a Pitch Bible


Creating a Pitch Bible

The Pitch Bible: Just The Essentials
 

In pitching animation, not only do you need the passion, have a thorough understanding about your property and know the broadcaster and their needs, you need to demonstrate what your story it about. Your pitch materials are your sales tools.

The Pitch Bible is a tool that helps convey your concept. It is a tool to help you present and is a leave-behind to trigger the decision maker’s memory.

There are no hard and fast rules about what form a pitch bible should take. At it’s very best, it should reflect the concept of the project, whether it is a television, feature or home entertainment project, to help the buyer visualize the story as you pitched it. The size, color, number of pages, how it is put together is up to you, the creator, to determine what best conveys your creation.
What are the basic elements and what should not be left out? This is the question that most creators ask. Sometimes we can get hung up in terminology and get lost in what is important. Let’s review a glossary of common pitching terms.

Glossary For The Pitch Bible
Character Descriptions:
Written descriptions of each character, what are their characteristics and how they interact with the other characters in the story.

Concept Art:
Drawings, illustrations or images of the characters and the environments of the story.

Episode Synopsis:
See “story springboards;” One-paragraph description of episodic plots that spring from the original concept; each episode’s synopsis should contain a beginning, middle and end.

Images:
See “concept art;” Drawing, illustrations of the characters and the environments of the story.

Key Art:
A drawing, illustration or image of the cast of characters in significant action poses in their environment that best visualizes the characterizations and story.

Log Line:
A one-sentence description of the story often similar to the one-line description in a television scheduling guide.

Pilot:
A fully produced episode to show as a sample of the animation and story.

Pitch Bible or Pitch Book:
A compilation of premise, story, characters, images in a form that can be presented during a pitch, as well as left behind with the prospect.

Premise:
A written foundation that explores the establishment, conflict and resolution of the story. The premise helps to support the story and the characters for the writer.

Script Treatment:
A treatment covers the full story, its basic ideas, and production issues in a condensed form, containing key scenes, locations, main characters and plot.

Story Springboards:
See “episode synopsis;” One-paragraph descriptions of episodes plots that spring from the original concept. Each episode’s synopsis should contain a beginning, middle and end.

Story Treatment:
A compelling narrative about the story in a page or two for television, longer for features; is used to sell the story.

Synopsis:
A one-paragraph overview of the story, plot and motivation of the characters.

Teaser:
Produced animation, either a sequence or animatic, which best illustrates the main characters, their actions and the premise.

Trailer:
A produced synopsis of the animated story, which helps to sell the concept.

Building A Pitch Bible


You as the creator will determine the look, feel and weight of your pitch, but there are a few essentials that you want to be sure to include in your pitch materials.
First and foremost, when developing your pitch package, make sure that it functions well in a presentation. Know where in the book you want key images of characters, environments and key art that you can use in presenting. Make sure that it is easy to follow in a book form, as well as usable in the sales pitch. Some creators like to bring in separate presentation boards of the art for the pitch only, with the pitch book as the leave-behind.

The pitch book is the document that is left with the interested party for their referral. It is your sales tool when you are not there. Keep it brief and to the point.

Be sure to have a log line, premise or synopsis included in the front of your pitch for easy reference. Include a story treatment, which gives a more in depth perspective of the concept.

Unlike any other pitch in entertainment, images in animation are the “heart” and soul of the story. The pitch book should reflect the artistic design of the project. Some creators use a visual theme throughout their pitch bibles to reinforce the concept. Visual consistency is a way to insure the property is remembered. Developing a logo for your project is an effective way of tying all the pieces together.

Main characters should be displayed in action poses and with attitudes. These are the actors you “hired” for the story. Images of the environment help to establish the story’s world. Great key art, in which the characters are in action, per their description, within the key environment, further support the concept.
Episodic synopses are essential for every television pitch. Episodes will show that the story and characters sustains in other situations and circumstances. Be sure that the episode synopses are short with a beginning, middle and end of the story.

But There’s More…
The above are the essentials that every pitch needs, but there are other things that can be added.

Some times a concept comes from an existing source, such as a book, toy or legend. Include a history of the story to give the decider a further understanding of the concept’s potential. Perhaps show the extended licensing and merchandising opportunities that this new version can bring. If you wish to add samples of these products to the pitch package, make sure they have your contact information added.
For some pitches (see AWN article: “Pitching Animation: Rules of the Game from the Pros That Play It”) it might be important to include an outline of the educational benefits of the concept and the resources that support the educational mission of the show.

Don’t forget to include the biographies of the creators. The decision makers like to know whom they are working with. In the case of some networks, they are interviewing the creator, as much as evaluating the concept, during a pitch.

Must Haves
Have your pitch book bound. Spiral, comb binding or three-ring, there are so many ways to have your pitch book assembled with covers. Doing this insures that your concept will be secure. No one likes loose pages, nor does it reflect well on you.

Select a method of duplication that allows for change without too much expense. Color copying or printing from a computer will give you the flexibility to adjust your presentation for the individual broadcaster or decision maker.

You need to protect you and your property. Your copyright is essential and should be printed on every page of a pitch book. If you have a trademark or a WGA (Writer’s Guild of America, go to www.wga.org to register your property) number, add these, too. Add a page number just to be safe, as well. Pitch books do get copied.

When adding your pilot, teaser or trailer DVD or videotape to the package, make sure that it has the same appearance as the pitch book and has your contact information. Some presentation folders have a holder for these media being included. You don’t want these to stray too far from the pitch book. On the opening and closing slates of the DVD or VHS, be sure to have your name, contact information and copyright, as well.

Contact information is essential. Have your name, phone number, email address, along with that of your representation, in the pitch book as well as on all other ancillary materials, such as your trailer, or any samples you will be leaving behind.

Payoff
The pitch and the pitch bible are limited only by your own imagination. The look and the feel are up to you. Just be sure to keep the essentials in the package and you will have a pitch bible that stands on its own.

stop-motion puppet experiment 3 with sculpey












armature design 2

















first stop motion armature puppet for my animation







Saturday, 5 June 2010

concept art for my new idea