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.
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.
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.
rough key positions for cut 09 of scene 006. This is where the bullets first begin to impact the ESPer’s shield, shaking him out of his stupor and into shock and terror. This is a pretty fast cut and will push out quickly.
Top and bottom key frames for cut 015. Pay no mind to the timing chart on this one, it’s strictly for in-betweening. Staggered timing will draw out the action and put more struggle and tremble into his movement than a smooth transition between keys would. We’ll offset the stagger with straight timing on the shirt, the veins and the spittle (spittle not pictured).