In these few weeks, I blocked out the scene where the protagonist notices a scared little girl hiding behind a car and begins walking toward her. I still need to refine the character’s movements and reactions, but the basic timing and poses are in place. The young girl’s animation is subtle—she holds her mouth to avoid making noise and avoids eye contact to show vulnerability. George suggested adding a moment where she hugs her knees once noticed, which I’ll work on in the coming weeks.
I experimented with over-the-shoulder and low-angle shots to build tension at the start and create a growing connection between the two characters. I also made sure to hold key emotional moments longer, like when the protagonist reaches out her hand to the girl. Just before they touch, both glance quickly to the side, startled, adding suspense and showing their fear. This small moment helps make the scene feel more real and urgent.
I also focused on refining the previs based on feedback. I worked especially on the camera angles and shot timing, making sure the sequence flowed smoothly and clearly communicated the story. George gave me some great advice on how to frame the shots better to keep the focus on the characters and their emotions.
Following George’s advice, I want to include small elements like a picture of a family, hinting at the memories that were once there before everything fell apart. These little touches that he suggested will help make the space feel lived-in and add emotional weight to the scene.
So far, I have a solid basic version of the shot. My goal is to finish it fully, even if I don’t end up using it in my Final Major Project. It’s a great learning experience to practice storytelling, camera work, and character interaction, and I know these skills will help me in future animations.