Quick cut that falls immediately before the Cleaner kicks the in door. This action underlays the dialogue of Lincoln saying, “I know, I know…” and is accompanied by a lighting flicker and the rapidly changing reflection of the holgraphic displays in Lincolns lenses that alleviate the static holdframe.

Has a couple in-betweens after the splash that need work, but other than that this one is set. Lots of goopy splatter bits, should be fun for the sound guys.

The attached color key gives some idea of the way the splat covers the surfaces in the room.

Full lines test for 06-004. Next we’ll make them splatty.

Keys and rough tweens for the hand actions in 005-01.

Finished linestest for 06-010 (as before, the clip is extra wide to match the canvas, so click on the preview to see the action).

This cut is ready for color.

Keyframe test for 06-012. This needs tweens at the beginning and end to sell the soldier’s struggling before his arms snap and twist. With the sound effects it’ll be a wicked flincher of a cut.

This one is nearly done, with the exception of our boy Benny, who needs some frames still. The soldier and his effects and secondaries are complete, though.

The canvas has been expanded considerably to allow for the camera to slowly push in, maintaining the framing of the characters but steadily drawing down the distance between them to point-blank range.

Keys and effects masking for scene 06, cut 008.  Needs tweens, and the composition placement is off-peg for tween purposes (this is why he appears to be walking in place)

Clean keys and breakdowns for the motion plus layer masks for the FX. The black blobs are used as the base for the bright hot glow of the bullets that strike his ESP shield.

Picking off a couple new ones. Keys only, rough breakdowns, no tweens.

Tentative model for the Cleaner.

Corrections to scenes 13 and 15.

In 13 we’re stripping 013-02 and extending the action in 13-01 so that we can more effectively follow through with the motion both in 013-01 and set it up in 11-03.

We’d like to pull 14 entirely and place the explosion into 015-01 (Scene 015 will become 14 once these corrections are confirmed), with Lincoln and Nine looking up at the kaboom, then to each other, then out to the future.

The rest of the cuts in scenes 013 and 15 remain unchanged.

The final sets of boards fit in a single thread. As always, click a thumbnail to view the full frame or the sequence as a whole.

In scene 013, cut 01, we return to Lincoln right where we left off with the boot through the door.

A looming shot of the smashed doorway (013-02) shows the Cleaner in full form (design to be determined) as he steps into the room and delivers a pair of double-taps from his suppressed pistols with ruthless efficiency.

This means little to the holographic forms of Nine and Lincoln, as the bullets pass through their images and strike the surrounding environment.

The cleaner leans in close to the smiling form of Lincoln as his image sputters.

The cleaner then looks down camera right

Angled up to camera left is a claymore anti-personnel device fitted with a remote detonator and a jaunty note.

Scene 014 cuts to an exterior of the building as an explosion blows out a corner office. We may be able to re-use the exterior shot from 001-01, allowing for a nice bookend of cuts.

015 starts with a low angle of Lincoln and Nine, who glance at each other with a satisfied expression and then walk out to the sunset as the dialogue plays out.

Scene 012 is the most extensive of the new additions, and requires its own thread. Ironically it only calls for two new unique cuts, but the additional action is significant. As before, click any thumbnail to view a single frame or the full sequence.

Cutting away from the action at Lincoln’s place, we return to the lab with a match of 006-01. Kali appears in the middle of the room (teleport effect to be determined) before a deeply doped Benny, and the attendants have barely a handful of frames to react before they’re splattered against nearby surfaces with explosive force, reducing them to chunky paste.

02 is a gesture towards camera, but without looking it makes the gesture dismissive. Kali’s full-body design needs to be addressed and modeled, but for the purpose of the boards we’re using a placeholder based on the description of “winding tattoos”.

03 displays the interior of the observation chamber (match 006-04) with the head scientist leaning forward to shout just before he and everyone in the room receives a similar explosive liquidation.

In 012-04 the belts that restrain poor Benny gently unbuckle themselves and his catatonic form is lifted into the air.

05 is a small movement that emphasizes the tenderness of the character.

In 06 the pair vanish, leaving with a singularity effect that draws in everything nearby in the moment before the scene is consumed by fiery blasts.

New script additions required new boards, so we’re scratching scene 007 forward from the old shot list and adding approximately 8 new scenes. With match cuts and judicious planning the amount of new animation is significant but not overwhelming. Click any thumbnail image to view that frame or the entire sequence in order.

We start the new scene 007 with a lot more action in place, the hand motions and facial movement of Lincoln will be more varied to match the dialogue. New cuts to 007 include a closeup of his hands working various holofeedback boards and a rapid-fire view of the various windows and dialogue screens that flash across his console.

Scene 008 is all-new, a long view of a hallway somewhere in the building. The hallway is dusty and dilapidated. Details to be determined on layout. The lights in the ceiling flicker and die as the elevator rises into place and the doors open to reveal the Cleaner in silhouette.

Scene 009 cuts back to Lincoln as he works more furiously at his controls. This scene will probably involve some simple lip sync. It’s a match cut for 005-01 and 007-01, allowing us to reuse the background and some foreground elements and simplifying the drawing process a bit.

010 is a low and long shot of the hallway at a reverse angle, a single door the only destination, and the boots of the Cleaner move from the extreme foreground into the scene with a Terminator-like stride.

011 match cuts to 002-01, allowing us to build on the dog’s base frame. He lifts his head to look off-camera, then back towards Lincoln. A bead of sweat runs down his forehead as reflections of holographic screens flash across his lenses. We get a view of a reinforced door with several locks that are of no effect when the Cleaner’s boot smashes through the wood like kindling.

-EDIT NOTE-

Upon review, we need to flip the direction of the action in scene 010 and the final cut of 011, so that the Cleaner’s motion is right-left (emphasizing that he’s coming up behind Lincoln. This also works better with Nine’s look to camera right in 011-01, as the Cleaner will be moving left in 10.

Clean key frames for 002-02, plus timing notes and rough tweens for the harder bits. This cut is ready for cleanup.

We’ve added some head motion to prevent a static hold, and we may return to this cut and add additional arm action as needed for scenes in the new script.

Rough keys for the bug’s entry into the air shaft. The roughs for c004-02 (the cam follow along the air shaft) show the bug starting cam left and pushing to the right, so having the bug hover momentarily before flying into cam right here makes for a nice transition between cuts 01 and 02.

All keys and tweens lined out for 002-01. We added an additional action for the left arm that lets it rest upon the table (the right arm presumably does so behind the body base). The action has been slowed a bit here by spacing out the groups and tweaking the time. Depending on whether the concern is that the motions are too fast, or the actions aren’t deliberate enough, we can add frames or tweak the timing further.

Aside from that, this cut is ready to flat.

Scene 005 was originally a single hold frame showing the Hacker as he receives the data stream from the bug.

In order to maintain camera consistency we flipped the angle and widened out so that we can move the camera a little. We’ve also added a slight head movement to break the static hold, and the rest of the action can be picked up by the holographic windows in the foreground.

For the match cut (007-01) where the feed ends, we’re suggesting that we add some simple hand actions to keep it from being static and to separate it from 005 a little.

rough animation for cut 002-02, which ties up scene 002. The focus of the action is the movements of the right arm, which manipulates some sort of tracking holographic input (possibly flying the bug, or aiming it’s cutting laser for 004-01).

Cut 007-02 was originally matched to cut 002-01, but on further consideration 002-01 is set pretty far out for the action in 007-02. We think matching to 002-02 instead will allow us to show the same action from a better angle. We can change up the base frame easily enough to avoid making it a complete match.