For the merged perspective boards, I used the panels that I
had drawn from the previous boards to create a refined composition with
perspective, camera angles, framing, space etc. I mainly used photoshop to cut frames together;
I was quite ruthless with the amount of panels that I cut from both of the
previous boards. I was also quite surprised through how many panels I used from
the flat perspective boards. At the beginning of the development process I
doubted that I would use any of the flat perspective panels, I immediately
assumed that the visual storytelling would be too linear and visually boring
for the audience however this was not the case, I used quite a few of the
panels and they merged successfully with the perspective boards.
The only main problem that I may come across in my storyboards is how to
portray the big panel in the third board. I could solve this problem by
separating the scene into six panels, or have one page of the final storyboards
with one panel with only one set of characters drawn on the page, and the
resulting interactions in the notes section much like Over the Garden Wall storyboards. I prefer the second solution as
not only will the detail be seen clearly, the visual storytelling of the
composition can be focused on, with room to enhance the use of shallow space in
the scene.
I really liked the ending sequence of the boards. At first I
wasn’t sure of the transition of the camera being in the chest to then cutting from
behind the chest through how it seemed to be quite jarring. However after
analysing it more it works quite well as it aids the build-up of suspense as to
what is in the box.
From this set of thumbnails the final storyboards can be
drawn.
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| Board 1 |
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| Board 2 |
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| Board 3 |
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| Board 4 |
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| Board 5 |
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| Board 6 |
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