Realistic Schedule Seminar Notes

• Producing a realistic film, break this down from minutes into seconds and seconds into frames.
• Do the maths – how much time can we devote to it? We have 5 weeks. 25 days. We need to make 2.4 seconds per day with is about 60 drawings. If we do this each we can get it done in 10. – work on doubles to make it easier for us, if it is good enough for Aardaman its good enough for us. That way we only have to do 30 drawnings a day.
• BUT… those 25 days look realistically at how much of the time will be taken by other tasks. Look at the schedule around 2 days per week for film production – allow time for DDD or theory work.
• So out of 5 weeks we have 2 days a week where we can work. Now 25 days is cut down to 10 days, which is a slashing of 60%. Singles – 150 drawings a day on singles. And doubles will be 75 drawings a day. In a group this is feasible.
• Going into production: this does not factor in the time you need for postproduction, you should spend the most mount of time as possible to do postproduction.
• Production schedule:
• Post-production – edit, sound, you don’t need to grade the work – for sound legal limits, and colouring. We should have at least 1 week post production, its really needed, however this is only 2-3 days. LATE NIGHTS IT IS…
• Again – 60 seconds of animation with 8 days of animating, you need to produce 90 drawings on doubles or 180 on singles.
• In production – if the project slips or we miss a day of animation – that will add an extra second per day. The rest of us have to pick up the animation.
• Producers – its essential for a smooth running production and make a production schedule for the work.
• Everyone is responsible for the smoothness between each shot. We need to find out how the previous
• DVD – PRINT CASE – FINAL HAND IN.
• Production schedule – benefits the production scheduling, by setting realistic targets and keeping to it, to complete the film.