Working with the SoundtrackFor the Old Man's dialog for this scene, I have a four-second track to work from. Here is the sound clip with the accompanying storyboard panel.
Beginning the animation, I made several key drawings--the drawings that best represent the style and spirit of the animation. As is often the case, my key drawings are also some of the extreme drawings in the scene. But a key drawing may not always be used as an extreme, as for example the storyboard image above, which puts across the idea without actually being useful as an extreme.
|The scene's initial pose. Note that this is a rough.|
|Another rough. He is saying, "You never know..."|
|Here, a cleanup, where he is saying "fail."|
First Pencil Test
The scene will amount to about 50 drawings when done. In the first pencil test, I have done only 28 of those drawings, but I am able to time it out to the soundtrack by adding extra hold frames wherever there are drawings missing.
We are using the Disney studio numbering method which specifies that if you are working on two's (two exposures per drawing), then beginning with 1, all the drawings will have odd numbers. Therefore, a sequence on two's would be 1, 3, 5, 7, 9, 11, 13, 15. If I have drawn only numbers 1, 3, 7, 13 and 15, then I expose the pencil test as follows:
Drawing 1, two frames.
Drawing 3, four frames (includes two frames to account for number 5 which is missing.)
Drawing 7, six frames (includes two frames each for numbers 9 and 11, which are missing.)
Drawing 13, two frames.
Drawing 15, two frames.
When you then play the pencil test, there will be some jerkiness but it is possible to match the dialog to the images and see how the action flows. In this case, there were a couple of areas where it was critical to see the full action, and where I therefore made sure to add in roughs of all the drawings.
Here is that first pencil test.
Next: A second pencil test in which many more drawings are present, and then a final test including all of the drawings.