Broadcast Beat Magazine 2017 BroadcastAsia Special Edition | Page 27

War III’s violent clashes with the
headfirst.
same oppressive atmosphere that
pervades the initial trailer.
Deep paintings
as possible, both narratively and
artistically. As such the team chose
“Relic had a clear idea of the to implement the cut scenes as a
storyline; they gave us detailed series of “deep paintings”. Each
scripts that covered all of the cut frame revealed an atmospheric
scenes’ narrative beats,” explains diorama or character and envi-
As a team of Warhammer fanatics, Abonamous. “They also gave ronment, shrouded in the sinister
Axis Animation stood as the studio presentations revealing how the atmosphere that permeates Dawn
of choice for Relic Entertainment, scripts tied into the game’s narra- of War III.
who knew the team would show tive context, revealing what would due reverence for the beloved happen between one cut scene and “We broke down the scripts provid-
tabletop franchise. another. That was a kind of ‘narra- ed by Relic into storyboard sketch-
tive glue’, which we used to think es, and iteratively finessed them
Axis collaborated closely with Relic of the cut scenes as part of a larger while discussing each with the
to ensure the cut scenes hit the tapestry.” developers,” Abonamous explains.
right tonal notes from pre-produc-
“Relic’s scripts and briefings rarely
tion onwards, with Abonamous Abonamous and Axis needed to mandated any specific composi-
once again diving into the universe make this “tapestry” feel as rich tions for each cut scene. We had a