Talked to the director again today. He wanted three changes: make the bombs skinnier, make more of them at the end and extend all the animations to 40 seconds. All in all, pretty easy.
I happened to read this tonight in Cinefx 105. It goes well with what I've been writing about for the past couple of days.
KEVIN KUTCHAVER: I think the best thing about TV is its fluidity. On films, we're just taking our marching orders from the visual effects supervisor. They've already spent a year planning everything out; and so, we are just there to carry out a plan that has already been put in place. It is more rigid. In television, often we're working with a cut that isn't locked, so things are looser.
CINEFX: That seems counterintuitive. You'd think TV would be more rigid because of the lack of time.
KEVIN KUTCHAVER: But see, since there isn't time or money for preplanning, shots have to be created on the fly and even though there is pressure in that, it can make for a very creative, high-octane work atmosphere.
SAM NICHOLSON: In contrast, features can become painting by numbers. By the time you even bid a feature the shots have been boarded, they've been prevized, they've been chewed up and spit out 50 times—and then, after you finish it, you do 60 or 70 turnarounds on one shot! So by the time you're done with it, you hate the shot. But in television, you have a meeting with the director to get a creative connection going; and then they say, 'Okay, go out and do it.'
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