We’ve been running silent and deep for a while, focusing our efforts on getting the storyboards done and “up onto reels” as they say in the biz, and we’re getting close. Soooo close. Just one more sequence to finish.
Recently, we crossed a major hurdle in getting the climax of the film boarded. It’s a crazy 5-minute chase that’s easily the biggest, most complex sequence in the film, and it turned out great. I thought it’d be fun to put up a tiny, non-spoiler tidbit just for kicks:
Are you wondering who’s chasing who? And why there’s an angry mob after 2HC? Or who they see on the other side of that table? And most importantly, are you wondering if this film is gonna be super-awesome?
The answer to all those questions is: yes.
The boards shown above, as well as a hefty portion of the rest of the sequence, were done by the great WonChan Sohn, a talented director and storyboard artist I met at last years CTN Anim Expo. You can see more of his work here.
Speaking of CTN, it’s happening this weekend. If you are at all interested in animation (or animators), what you’re experiencing right now is the nervous bubbling of giddy anticipation!
Whoa. Just breathe real easy now.
Naturally, we will be at the CTN Expo promoting all things Two-Headed Cop at booth B43. Please stop by and say “Hello” if you’re in the vicinity!
I know those Comic-Con play-on-words are really bad, but for some reason I just can’t help myself.
It was another exhilarating year at the San Diego Comic-Con. Just like last year we had lots of great reactions from folks both young and old, but I feel like it was ramped up a little more this time. More people were asking specifically, “Where can I see this?” and we heard repeatedly that people loved the look and concept of the film. And we got a little more attention from animation industry people who asked about things like distribution and theoretical episode costs, which was awesome to say the least. I can’t stress enough how much hearing this kind of interest inspires me to work that much harder to see this finished. I want to watch it too!
One guy in particular suggested that the film might look great in black and white, and asked us if we’d considered that. Kevin and I told him that over the course of rendering out the film we’d seen it many different ways, including high-contrast black and white, and that we were happy with the current look. But that guy totally planted a seed (thanks, anonymous Comic-Con guy!) and so we watched the Jail sequence with the saturation turned way down and we both were like, “Daammmnn, that looks pretty cool!”
Thus, while I still fully intend to make it in color, I’m now thinking that maybe we do a special alternate release in B&W, just for kicks. Here is the B&W version of the Jail sequence for your viewing pleasure:
What do you think? Better than color? Worse? Or just different?
I’ve made some adjustments to our approach for the look of the film, some of it based on some great feedback from people who saw the earlier version .
The biggest difference you might see is the treatment of the background environment. I gave it more depth by adding atmosphere and playing with the depth of field, which helps distinguish the characters more and make them “pop”.
I also played with the colors used in the environment, which I hope makes it seem a little less muddled and indistinct.
There are still plenty of refinements and adjustments, but I’m happy with where it’s heading.
And if you’re at the Comic-Con this week, come by booth #2445 and see it on the big(ger) screen!