MoMo Animatic (Spring Cleaning Part Two)

What did I find on my hard drive, today: The animatic I made for Listen To Me... MoMo...



After I read the book ‘Nee... Marimo’, from which Listen To Me... MoMo... was adapted, I quickly drew up a storyboard of how I saw a filmed version playing out. Serendipity is something I never ignore and so when a friend mentioned that a studio he was working for were filming their animatics (Filmed storyboard panels cut like a real film) buy using iMovie, I thought I’d give it a try. So what did I have on hand to shoot as an animatic? Well, I could have used one of the numerous storyboards I’ve drawn over the years, but then it occurred to me that I should scan and edit a MoMo animatic since I had the storyboard ready and it would be more fun and productive.

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As is the case with pretty much any Apple product (hardware or software) I have used, I didn’t read a word about how to use iMovie and in a few hours, I’d had a completely edited animatic without sound and without problems. About the only thing that I wasn’t pleased with was controlling the pan slow in and out speeds (I didn’t want any), but otherwise, it was easy to use and I got the results I needed for creating a functioning animatic.

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Originally, I was going to compose the music myself, but I wanted to fine tune the cuts to some temp music for the fun of it. The first tracks I thought of were the two that ended up in the final film. Both are from the soundtrack to the film StarRunner, scored by the great Henry Lai. I met Henry several years ago to talk about music and he was nice enough to give me a copy of the StarRunner soundtrack. I listened to it for the next couple of weeks non-stop as I walked around town: it is a great score. So, I took the two tracks that I thought would serve as good temp music and they just worked perfectly: they had the right feel I wanted and even the lengths were spot on (Remember what I said about serendipity). I only needed to make minor timing adjustments to some of the shots and eliminate one scene (A shot of an empty dog house) because there simply wasn’t enough music time for it to fit in. I don’t think it is missed, though.

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Then, I thought I may as well add some temp dial. I just used the built in mic on my iMac for that and it is quite obvious that I did. You sure can hear my air-conditioner hissing away in the background. Still, it is just temp dial and so it need not be perfect. So, yeah, I recorded both parts, myself, and I used Logic, I think, to change the pitch in order to make myself sound more like a girl and a dog. Sadly, I think I do pretty decent girl. My dog voice... it merely does the job. I recorded the temp dial to picture in two passes: one for the girl dial and one for the dog, but both are first takes and I didn’t make any adjustments after recording for timing. A couple of rehearsal takes and then recording was all I did. I’m a big proponent of recording voice acting to picture and music whenever possible over recording before picture, cold: I think you get a much better performance that way.

So once I had the whole animatic finished and watched it several times, I fell in love with the temp music and the last thing I wanted to do was try to score new music myself: I knew I just wasn’t going to get close to the perfect feel the temp music had. So, I gave Henry a ring and asked him if I could use his music as is and he, being the stand up guy he is, said I could.

Frankly, between the excellent original story and illustrations and Henry’s fine music, my job as director was to simply not screw it all up with poor direction. I hope I didn’t.

-Steve.



HIM
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