Shot 1:
Locker Room
Sven & Gordon are putting their boots on and tying their laces. Putting on aprons, hair nets etc and they clock in (credits roll)
Shot 2:
Enter Slaughterhouse
They turn the lights on as they walk in, as they flicker on more credits roll. There's four different shots of the empty set showing off Anna's top notch model making skills.
Shot 3:
Close up of the sink and water draining down the plug hole as they wash their hands -
fact on screen:
It takes more than 2,400 gallons of water to produce 1lb of meat and only 25gallons of water to produce 1lb of wheat.
Shot 4:
Taps turn off and it zooms out, as this happens you hear footsteps walking away and a truck pulling up followed by sound of cattle.
Shot 5:
Cuts to the plastic curtain wafting and dust (super imposed, particles via maya?) Comes up through the curtain.
Shot 6:
Butcher is testing the stun gun. Camera moves to him picking it up.
Shot 7:
Lights flicker in the slaughter house and it all goes dark. (Red lighting behind frosted plastic curtains?)
Shot 8:
Close up of butcher with stun gun and it zooms into the stun gun. The pattern of voltage is in the shape of a tree and we get a new fact on the screen, relating to animal production and deforestation.
Shot 9:
Shot zooms back and you see the other butcher hitting the cow with a stick moving him into the stun gun area. Shot cuts to several brutal shots of the violence.
Shot 10:
Zooms out (more of a cut shot) to the other butcher putting the gate down.
Shot 11:
Low down shot of cow pat, facts about greenhouse gases - live stock is more than 18% responsible for greenhouse gases, which may not sound like a lot, but this is more than Cars, Planes and Fossil Fuels.
Shot 12:
Close up under the chin looking up at the butcher with the stun gun, with a manic facial expression.
Shot 13:
Cow stunned. Medium shot. Cow then drops to the floor.
Shot 14:
Close Up of cows face as he cries. Fact on screen: The stress of farming has a massive effect of ecological systems, spoiling diversity and contributing to overheating of the planet.
Shot 15:
A different camera angle to shot 13 the cow is stunned again and it pans to the railing of a cow upside down on the meat hooks.
Shot 16:
Close up of the cow being cut open and the screen pans down as the blood drips down and pools on the floor.
Shot 17:
Close up of a pool of blood in post production we impose 2D animated fishes swimming around that quickly die off, face about dead zones in the ocean from run off farm anim waste. Whilst this happens sounds of cow being skinned.
Shot 18:
Super fast pan to the cowskin being thrown in a tub. We hear more footsteps and we see lights flicker and hear the stun gun as we pause on blood dripping and leaking out of the tub.
Shot 19:
Cuts dramatically to a CCTV shot from top room corner - butchers being really naughty whilst moving the cows round. (Screen flickers and the clock on the CCTV exaggerates the passage of time) see shots of one of them taking a selfie with one of the cows - fact about CCTV being applicable in slaughter houses). By this point several cows are strung up.
Shot 20:
Cuts to butchers hosing down the slaughterhouse for the evening, push carcasses off screen, truck sound moving away.
Feedback from crit (in Anna's words).
As expected, when Anna and I pitched our idea, the majority of the feedback was concerning our two disparate ideas. While our tutor stated that he was more drawn to the animated interview, there were also suggestions that hard facts could be incorporated with the more opinion based interview. Ultimately, we have to decide (very soon) whether we are going to combine our narrative concepts, work on just one, or work co-operatively on both. To me, this last option, of working on two stop motion animations simultaneously, seems highly unrealistic especially given the high volume of work we currently have for other modules.
Another issue which was raised was regarding the consistency of character designs. Given our desire to each attempt to model a character, there is a chance that we could end up with two characters which do not sit well alongside one another, who don't belong to the same world. To prevent this happening, we will need to work closely alongside one another during the modelling and construction process, to ensure there is as little discrepancy as possible between the characters.
On a more practical note, questions were also raised about how we would handle the animation of blood. As we have been struggling with agreeing on a single narrative, we have not as yet managed to do any animation tests. There will undoubtedly be a fair amount of blood in either concept, and consequently it is necessary that we consider how to animate with liquid. While we could use semi dry PVA (dyed red), which will be malleable for a time, we could simply film dripping blood in set, as live action, provided there doesn't need to be any animation at the same time. This is something we will have to explore as part of our proof of concept stage, before beginning the animation in earnest.
Our most pressing course of action, however is to meet with our tutor, and attempt to come to a final decision on the direction of our narrative.
This crit didn't go very well. I think we are both quite stubborn. My Idea is way too long I appreciate this. Hence why I haven't had time to do a storyboard. And it's pointless doing one now because I know it's too long we will just have to find a compromise.
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