When animating a shot, I start with the animatic and then immediately start shooting LAVs once the camera and staging is set. I’ll get feedback on each LAV to get a different perspective on what is working and what needs changing.

 

On this film some changes were also made after the blocking pass, and I went back to shooting more LAVs that I weaved together into the final performance. The blocking pass on this shot, for example, needed a more gentle, mindless quality to the little sister’s hand as she reached up to the window. Her movement in the blocking was too heavy and distracting from what should be a quiet introspective moment.