The Making of God of Dance [radio edit] (Part Five)


Ok, so... Ramen’s model was finished and Rasta was on the way. Meanwhile, I was being asked by Simage when the storyboard will be ready. Without it, they could not make their own schedule for the animation and wouldn’t be able to tell me when they would be finished. That meant that I didn’t know if the whole promo could be ready in time for the pitch meeting.

Andrew was suffering a bout of writer’s block (only a storyboard artist’s version) so I cut together the music track to see if that could help him get a feel for the action. I don’t know if that worked or not, but Andrew delivered the storyboard pretty quickly after that and did he ever deliver. As I had said before, once a spark is lit and one gets started in on a storyboard, it isn’t unusual to find a groove and suddenly the work pours out at great speed. That was clearly the case with the GoD storyboard because not only did Andrew deliver a terrific storyboard, he delivered too much of it!

It was a very long storyboard. It’s clear that he found a groove and went with it. Sadly, I knew I would never be able to fit in everything into the 15 seconds of the dance sequence. The first 15 seconds was what it was and so that left only the last 15 seconds for all the dance moves. That’s really not a lot of time even with fast cutting. I don’t mind fast cutting, but you can only cut so fast before what you have is not follow-able by the audience. So, my first task was to trim the storyboard down to a length that seemed close to time before I started to cut the animatic (An animatic is filming the storyboard panels and cutting them into a film in sync with the soundtrack, for those not in the animation business).

I cut a lot. It couldn’t be helped. Some fun stuff had to go and some stuff that I was pained to cut had to be to cut: 15 seconds only allowed for the bare bones narrative of the dance off. From there, I scanned the board panels into the computer and started editing. I very much enjoy editing (and by that, I mean hands on editing and not sitting on a sofa while an editor shows you something and you say “Ok, great!” or throw in your 2 cents while the editor does the donkey work) and so cutting the animatic was a lot of fun. As with the whole GoD promo, editing the animatic was a very organic experience. Sad, but I still had too much dance to fit in the 15 seconds and more got trimmed. What I was left with is pretty much the spine that Andrew and I plotted before he drew the storyboard. Once it was all done, both Andrew and I were happy with the results and I took the animatic to Simage to go over it with them.

You may notice that after the title screen, at the end, that there is an extra scene with no music. Well, that final shot was a late addition added after I took the animatic to Simage.

Andrew had shown the animatic to the fella who was paying for this promo and he felt that the promo, as reflected in the animatic, was too intense and he wanted a tension release scene at the end. I wasn’t terribly pleased with the idea, to be honest. My thought was that I wanted the promo to be as intense and exciting as possible: 1) Shock them into it with the big title pounding in. 2) Transition into aggressive music and a flurry of animated visuals. 3) Pound in the show title and allow it to drift away with the finial musical note. I felt the title shot was enough of a release, really. I wanted the viewer to feel a rush of excitement that would carry forward into the rest of the pitch meeting so that they would be more receptive to investing money because they feel the excitement of the show.

After I vented my frustration, Andrew and I started to try and think of what we could add. I absolutely didn’t want to add more animation since we were short of time and more animation was not going to help the promo get done faster. As it was, I didn’t even know if we’d have 15 seconds of finished animation, so the tension relief cut had to involve no animation.

I believe it was me who came up with the idea of a still wide shot of Ramen and Rasta against the wall (Rasta squatting, having a smoke). I thought that that would have a nice filmic look, it would release the tension and it would only involve adding a drawing of the characters on an already made background. Great! The more we talked about the shot, the more I started to like it. I went from 100% against the idea to 100% gung ho to add the shot, in about an hour.

Andrew drew the new scene to the storyboard and I spliced it into to the animatic.

The only trick I needed to pull was that although the shot was to ease tension, I didn’t really want to do that and I wanted a dynamic out of the promo over a slow fade out. The latter would be too soft and I wanted it to have a hard end to increase the tension even though I was supposed to be releasing it.

I had suggested that for the music that it be an old 1920s phonograph run through a cheap speaker. Andrew suggested using an old Chinese song and since that made a lot of sense and he had some music in his collection, I left it to him to pick something. He gave me three to select from and I picked the one that I liked the mood of best. It was coincidence that the lyrics translated into a line about waiting for someone. Serendipity indeed. Anyway, for my hard out, I thought that the music and visuals would just cut out as if they were interrupted. So, I came up with the idea of a computer screen declaring the end of the promo to the sound of a static humming blip sound. That seemed dynamic and in keeping with the feel of the promo.

Then for the next week and a half, I had to add “Artist” to my Producer/Director credits, again.

Next: Let Production Begin and The Myth of the ‘Radio Edit’

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