Using Steve Lacasto as key storyboard artist, I felt my choice was wise, as he produced the completed second pass on time. Due to amount of camera moves within the piece I was reliant on an artist competent in perspective pieces.
I've been trying to maintain a good contrast between the two characters, as a fight scene, edited with quick cuts can often prove to be somewhat confusing. The size difference between the monk and master is enough to give both characters clarity, but perhaps a colour scheme will help push this envelope further.
Collecting more references and colour palettes for my mood board, I've handed off some thumbnails and some direction to Layout artist Marcus Binge, to help with both staging and presenting of characters in key combat poses.
I've been studying "how to Draw Manga; Combat" in search for interesting keys and correct lines of action conserning both punchs and kicks.
Now i will go over the second pass storyboards, Looking for revenues to cut down on animating time.
My monk character has been fully modelled and textured, and is ready to rig, though this procedure will be very time consuming. I'll have to construct the rig, and figure out what acrobatic limitations it might have for the stylised monk character. I am asuming high kicks will force the mesh to deform hideiously, as the monk has quite small legs. Perhaps master Stretchy inverse kenetics will offer me a solution, or at least mask the limitations of the rig with some squash and stretch exageration.
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