Pre-Production 2020

Pitching etc.

Your 10 Minute Pitch (10 Slides tops!):

  • Printed (nd in PDF format) handout in colour for Cormac and Mark.
  • Logo should be evident throughout. Stamp on each page for example.
  • Colour palette should be chosen for the animation and matched on the presentation and handout for commonality.
  • Name and Logo
  • Introduction to Project, Background story elevator pitch- one page summary.
  • Target Audience and USP (What makes it original or what makes it a money machine?)
    • Who is the target of the pitch?
  • Character pages- Main characters both Protagonists and Antagonists.
    • Include character traits, why are they in the animation? abilities etc.
  • The Story- Short description of an episode or the animation.
  • Style guide- Include Similar sample animations, links to videos or stills.
  • Storyboards- If you have storyboards add them- if they are very rough do not.
    • Do not add anything which takes away from the presentation.
  • Use templates for your pages- It looks professional and keeps the presentation on point.
  • Marketing- Where will it go next? Will there be more episodes etc..
  • Possible technology, equipment needed or a very rough production plan.
  • Past Experiences
  • Crew needed and suggestions
  • Budgeting
  • Surprises are USPs… add them…. maybe not all.
  • Your powerpoint should have very little text. Your text that you need to disseminate should be on the hand out. Powerpoint is just hints and visuals.
  • Try and keep the pitch concise and short. This will be developed as the project grows. Pitch book sub 10 pages, Pitch presentation sub 10 slides.
Pre Production documents and Information- FILM

Depending on your project your pre-production pack should contain some or all of the following pieces.

  1. Script
    A script is the outline of the story and contains main dialogue actions and locations in a standard script format. To find out more about scripts and the script format you can look at the document here: ScriptWritingFormat
  2. Storyboards
    Storyboards should be treated as a living breathing document that can change throughout the project. As well as showing the key framing of shots it should include information such as location, a description of the action, camera moves, special effects, props etc. This acts as an alternative to a “shot breakdown list” This is an example of a storyboard …. annotations are added afterwards. Check this page above for more information on storyboarding and some sample template. These may be hand drawn, photographs etc. They are not necessarily works of art!
  3. Animatic.
    An animatic should include key scenes, camera movements etc. It’s is primarily used for timing and is invaluable for editing the film later on. It will allow you to make decisions early on in the length each scene should be and the speed of main action. Here is a very rough example.
  4. Shooting Script
    The shooting script will outline the key components of a shoot. these are brief documents. Hre is an example shooting script: Shooting Script
  5. Location Scouting and Location Lists
    Sometime included in the storyboard but more often a separate document so as scheduling etc can be easily made. This would also usually include test photos of the location or reference images as well.
  6. Style reference
    What is the film going to look like as regards style, colour, grading etc? Is there similar examples. Include these for the production team!
  7. Props and Costumes etc
    Often overlooked but location will often be more effective with specific props in place, a picture here a blanket there etc. The set should be “set” and this needs planned. Also the clothese ete that your characters wear etc need to be thought up and maintained throughout the shoot! Do not tear them! Do not spill paint on them!
  8. Scheduling/ Gantt chart
    Schedule of your shots, your edit and your release dates.
  9. The Elevator Pitch
    Describe the film production in 2 lines. it refers to a brief description of a project that explains the concept in a way that any listener can understand it in a short period of time.
  10. Brand the Project
    Getting a name and a brand of some sort for the project early on is very important. This should reflect the overall look and feel of the project. Research logos. Research Styles. Research Fonts etc…

You may find these articles of use for you:

A Step-by-Step Guide to Pre-Production for Film and Video





Pre-Production Documents- ANIMATION

<h3>Animation Pitch Example:</h3>
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Making a Picth Doc pt1:

The Ultimate (Helpful) Animation Pitch Bible Guide


Resource: Layout Design Principles:

Resource: Adobe Colour Matching Tool

Resource:: QRCode Generator:

Available here

Layout examples and inspiration:




Story Writing Techniques

Resources: Links:

Mindmapping Tool:
Image/Web Archiving:
Photo Archiving:
ound Effects:
Vimeo for Video:

Script Writing Overview: ScriptWritingFormat

Shot Script Overview: Shooting-Script

Script Writing Overview and Workshop: script-writing-workshop1

Recommended Books on Script Writing:

Syd Field- The Screenwriter’s Workbook

Syd Field: Screenplay- The Foundations of Screenwriting

James N Frey: How to Write Damn Good Fiction: Advanced Techniques for Dramatic Storytelling

Weirdogs- Cloud Ass: Story Paradigm Example:

This is a basic breakdown of a story paradigm for the character Cloud-ass. I’ve added an image of the character to add to the individuality of the story as it sits amongst 30 other similar short animations. Wierdogs Story Paradigm

 Character Development 

1. Communication style: How does your character talk? Does she favor certain words or phrases that make her distinct and interesting? What about the sound of her voice? Much of our personality comes through our speech, so think about the way your character is going to talk. Her style of communication should be distinctive and unique.

2. History: Where does your character come from? Think out his childhood and adolescence. What events shaped his personality? What did his father do for a living? How about his mother? How many siblings does he have? Was it a loving family or an abusive, dysfunctional one? What events led him to the career choices he made? You may not need to provide all this background to your reader, but it’s good to know as the writer. It helps give him substance in your mind as well.

3. Appearance: What does she look like? This may be the least important ingredient to make your character a person to the reader, but you should still know it in your own mind. Not every character needs to be drop-dead gorgeous, by the way. Most people aren’t.

4. Relationships: What kind of friends and family does he have? How does he relate to them? Is he very social or reclusive, or somewhere in between? People can be defined by the company they keep, so this can be a good way to define your character.

5. Ambition: Just as this is the central letter of the acrostic, so too this concept is absolutely central to your character and plot. What is her passion in life? What goal is she trying to accomplish through your story? What is her unrecognized, internal need and how will she meet it?

6. Character defect: Everyone has some personality trait that irritates his friends or family. Is he too self-centered? Too competitive? Too lazy? Too compliant? Too demanding of others? Don’t go overboard on this. After all, you want your reader to like the character. But he’ll feel more real if he has some flaw. This is usually connected to his unrecognized need (see Ambition) and often gets resolved through his character arch.

7. Thoughts: What kind of internal dialogue does your character have? How does she think through her problems and dilemmas? Is her internal voice the same as her external? If not, does this create internal conflict for her? In real life we don’t have the benefit of knowing someone’s innermost thoughts, but a novel allows us to do just that, so use it to your advantage.

8. Everyman-ness: How relatable is your character? While James Bond is fun to watch on screen, most of us aren’t uber-trained special agent-assassins so it’s a little hard to relate to him on a personal level. On the other hand, Kurt Russell’s character in the movie Breakdown was far more ordinary and relatable, creating a more visceral experience. Be careful not to make your character too elite or he may be too difficult to live vicariously through. And that, after all, is the key to suspense.

9. Restrictions: More than a personality flaw, what physical or mental weakness must your character overcome through her arch? After all, even Superman had Kryptonite. This helps humanize your character, making her more sympathetic and relatable.

The goal is to make your readers feel something for your character. The more they care about them, the more emotion they’ll invest in your story. And maybe that’s the secret.

Protagonist and Antagonist

The protagonist is the main character in the story you write about it. Continue reading… A novel, movie, or play might have many main characters, but it can really only have one protagonist — or maybe two in the case of, say, Romeo and Juliet An antagonist is a group of characters, institution, or concept that stands in or represents opposition against which the protagonist(s) must contend. In other words, an antagonist is a person or a group of people who opposes a protagonist.


Project Planning

Project Planning Overview!


Storyboard Template- A Good One!

Asset List Example





LUTs and Colour Correction

LUTs presets available here:

Download LUTs