concept pitch

I absolutely adore those HFY posts where humans shock or surprise aliens with our weirdness or sheer pigheadedness. 

But here’s one idea that I haven’t yet seen - imagine if aliens had no music. Imagine if they had no instruments, no songs, no musical humming, even. 

The concept of pitching differing sound frequencies together in a collaboration of pleasant noise had never occurred to them. Aliens just don’t have music. 

Then along comes humanity. And so much of our society revolves around music, or incorporates music, or builds itself up with music, and it’s just this staggeringly new thing for aliens that so many humans take for granted as a part of every-day life. 

Imagine introducing music to the universe. 

2

★⚡ RUNNING IN THE 80S ⚡★

Link is a country boy moving to the city, training for the Hyrule Police Department (HPD). He doesn’t talk much, but others say that can he can figure out conflicts in a pinch given the chance.

How Dean should come out on the Show...

I daydreamed this up at work whilst evidently not working and wanted to share it with you… If only I could pitch it to Andrew Dabb…

Okay so picture the scene. A generic MOTW episode with Sam and Dean and no Cas because he is off hunting Lucifer apparently (though since this is MY episode idea instead I am gonna say that the only reason Cas is sitting this one out is because he is currently visiting Claire and Jody for some R&R and the bros are stopping off to deal with this very minor hunt on the way to meet him and the girls. So THERE BOB SINGER.)

Anyway. The hunt is pretty straightforward, its either a Vamp, a standard salt and burn or I dunno, a Rugaru whatever you feel like. The monster isn’t important. What is important is that this is a DEAN centric episode.They roll up into this sleepy little mountain town somewhere in Colorado (or wherever, location isn’t important either) and go to interview the first witness. 

The first witness is a guy in his late thirties who clearly used to be a looker but the years have been hard on him. He can be anyone you wanna imagine. (preferably for me I’d say he’s dark haired and blue eyed but that’s my own preference *wink wink*.) the guy immediately recognises Dean. There goes the FBI cover story. Dean is completely taken back by this guy and gets kinda goofy around him much to Sam’s surprise and amusement. The guy (we’ll call him Jake) is really happy to see Dean and starts talking about how long it’s been and how he thought he’d never see him again after Dean left town. There is clearly a back story here hence why we get a nice close up shot of Dean’s face looking all sad and reminiscing before we cut to…

Young Dean, about 17 years old (played by Dylan Everett of course) is in the town with his dad and Sam whilst his dad deals with another hunt and he is skipping school. Through some consequence or another, Dean meets the younger version of Jake and they become friends. 

Throughout the episode, the story skips between the past and the present showing just how close Dean and Jake became as teenagers, though the subtext is obvious, the audience is still completely oblivious and thinks they are just friends. In the present time, Dean is obviously awkward around Jake and Sam continuously teases him and tries to get more info out of him about him and Jake’s past, since Dean never mentioned him to Sam. Jake outs himself as gay/bi pretty early in the episode in a similar way to how Jenna did in 11x02. It is never focused on, just mentioned in a passing comment about his “ex boyfriend” or something. No one even raises an eyebrow of course.

Jake either already knows they are hunters (maybe his family were the victims of whatever John was hunting in the past) or maybe he only found out now because he was a witness to the present day monster (or maybe the two monsters are connected who knows) but Jake is determined to help the boys in the case in present day. This leads to him getting hurt bad (maybe he dies but I hate that trope with a passion so since this is my story and not Bucklemmings the gay guy LIVES.) Dean is pretty broken up about it. He goes on about never bringing people with them into the hunt and how dangerous their lives are and this is why they can’t have relationships. Sam raises his eyebrows but doesn’t say anything. The Drs confirm that Jake will be okay but he is sleeping and Dean can’t deal with it. He leaves the hospital with Sam on his heel and gets into the Impala. 

Sam asks why they are leaving? doesn’t Dean wanna say goodbye to his friend?

Dean just shakes his head. They ganked the monster but someone got hurt once again. Its best if Jake just forgets he ever met Dean Winchester.

We cut back to the past. Dean is upset that he has to leave another town, another school, because his dad is taking him away again. Jake comes running up to him asking him whats wrong? that its okay because they can just meet up again? He can get a bus and visit Dean where he is moving to. But Jake of course doesn’t understand Dean’s life and it just makes him more upset. The two boys hug and when they pull apart Dean takes the initiative. He kisses him. There is no ambiguity about it. It is innocent and sweet and in no way platonic. The boys relationship was more than friendship all along. When they pull apart Dean tells Jake he will miss him and then he leaves. Young Jake is left watching as young Dean walks away from him. 

We cut back to present day Dean. Sitting behind the wheel of the impala clenching his jaw. He doesn’t say anything but Sam just looks at him with a sort of pity. Sam may not know the details of what happened between them like we as the audience do, but he knows something, because Sam always knows. The impala drives off into the night and we cut to credits. 

In the next episode everything is exactly has it always has been, Cas is in the next episode and acts as he always does. Nothing else is different, but suddenly the audience has a different perspective on everything they see. Because you see, Dean Winchester kissed a boy when he was 17, and therefore Dean Winchester has been bisexual all along. Nothing has changed, and yet everything has. 

:)

10

this is most of my pitchbook for my fourth year film since tumblr wont let me upload and more pictures to this post its missing a page of story sketches, themes audience and reff/insp. but heres the rest!

super looking foreward to working on my own thing and being able to play around as much as i want since i know i wont get to do that once i start working. this is gonna be a lot of fun to make and hopefully i come out with something pretty fun in the end! 

6

In January of 2016, Alterna Comics tweeted about wanting to see an Aquatbats comic. After an enormous amount of “likes” and “retweets,” Peter Simeti (founder/owner of Alterna) found himself in a discussion with the band. Months passed and nothing really came to fruition. Being a huge fan of the band–and their tv show–I wanted to move things along.

So I made a proof-of-concept pitch with @axureneas. You know, the natural thing to do.

Our pitch was a direct continuation of “The Aquabats! Super Show!” Being true to the tv iteration of the band, different art styles would pop up in every issue. This would’ve been done through the help of various creators from around the world. So, in a way, it would’ve been a fun lil mixtape anthology.

While nothing really came of this short, I’m still immensely happy about how things turned out. With KISS and Gwar comics on the horizon, maybe enough likes, RTs, and reblogs will show the band that fans really want a comic!


ok listen like the part of that video lilla just posted a clip from yall arent seeing is ben described, in 2014, TAB and s4 of sherlock as “the pitch they gave us for this new season was so exciting” with a huge smile, like, the PITCH? was EXCITING? what does that mean? what new concept did they pitch??? what exciting secret twist was it??? LIKE……SOMETHING HAS BEEN UP

anonymous asked:

Hey! I looove your work and I wanted to ask about blackice. I adore the AUs you have for these characters, and I was wondering if you have other AUs in mind for this ship? Not any plans for future writing but I thought it would be fun to hear what ideas you have for these characters.

Hiya anon!

I have no immediate plans to write any more blackice after TGATNW, and I have come up with other AUs over the years. One I’m actually stealing for an original novel series (a demonology AU), and the other…I’ll never have time for, which was a Rise of the Guardians / His Dark Materials crossover, where Pitch and the Nightmare King are brothers and Jack is a witch who can control the snows and etc. I don’t even really remember the plot. I just remember it was pretty and also daemons.

But the demonology AU I’m reworking (I came up with it like, god, oh my god, midway through 2013? Haha, I’ve been on this account for too long. *becomes a slug and crawls around*), mostly because I like the potential it has as a universe to carry multiple stories, similar to how the Fae Tales universe does now.

I haven’t really tried to come up with anything else, to be honest, because I am 99% more likely to be thinking of AUs for Gwyn and Augus, since they are way more my OTP than Jack and Pitch. (I love Jack and Pitch, but like…for characters that fill my every waking moment, it is more likely to be Gwyn and Augus. I have like a million AUs for them).

4

My final for my Visual Development class! It’s called Cryptids, a show about a selectively mute boy that goes on a summer road trip with his family across the United States looking for proof of…well cryptids.

Had tons of fun creating this and I hope to continue working on it in the future!!!!

3

Honorable Mention for Dad Character of the Day: Spy from TF2


First off, I want to give a huge thank you to @sacklegend for linking me to this. I didn’t even realize the newest TF2 comics came out yet and I had a good laugh at the situations in here.

But this right here? While this is another addition to how much Valve and TF2′s crew listens to its fans’ creative (though sometimes weirdly concepted) story pitches, this was a genuinely sweet moment that at least deserves an honorable mention. Scout denies the Spy being his father so much that Spy tricks him into believing Tom Jones is his father in his dying moments (typing that out is unbelievable in itself) but he gets that one moment to actually be there for his kid in a genuine(ish) manner.

Honestly, they played something semi-humorous out in a well told way.

anonymous asked:

Ack sorry about sending another pitch question (I know you said something about people sending those) but you mentioned you pitched a show twice, and since I'm a creeper, I read the tags and you said the pitch wasn't how we'd think they'd be; how were they, then, out of curiosity? If I ever pitch a show, in your position, what should I expect? What exactly happened? Sorry for asking all these questions; you've been my inspiration for a while and I hope I can pitch my own show someday!! Thank you

Oh no, that’s fine!  I don’t mind telling my experience with it, and I’ve even given pitching tips before, but this post is about the extent of my knowledge.  (You can also just search my blog for “pitch”, ‘cause I’ve reblogged stuff from other people that actually KNOW what they’re talking about, haha)  I just don’t want people under the impression that I’m super experienced with it, or that I’ve ever pitched to a big deal network or producer.  I absolutely haven’t.  

I have exactly 2 pitching experiences.  The first one was a few years ago at an event in Nashville called “Film-Com”, which is an annual trade show/expo event for financing and distributing filmmaking projects.  Basically you get a booth, and you set up in this convention center with all these other aspiring creators (filmmakers, documentary people, a few video game/new media folks, all sorts), and they’ve invited a WHOLE SWATH of producers and industry professionals to come mull around the show floor with you so you can make connections and get your product out there EAT FREE MEALS and then idk, maybe fuckin’ walk around a bit and look at your dumb shitty projects if they fuckin’ feel like it but they probably wont, so what ends up happening is all the creators just walk around and look at each others’ shit, which for me—being the only animator there—means that a bunch of other jack-knobs who have some vague idea for a shitty cartoon end up giving me THEIR card so that maybe in the future I can work on THEIR dumbfuck ideas.

ANYWAY, to get to the point, they selected certain projects and scheduled them to actually go up and pitch in front of a whole room full of producers.  This happened over the course of the whole day, so I suspect the reason none of the producers were walking around interacting with people is ‘cause they were stuck in a room all day hearing 30 different suck-ass pitches and when it was all said and done they were probably exhausted.  I was scheduled as the last pitch of the day.  I enter the room and wait patiently; the person before me is running about 10 minutes over their allotted time.  I scan the room… everyone is MISERABLE.  They’re anxious, they’re uninterested, they’re sighing… the main guy who’s sort of monitoring the whole thing is pinching his brow and trying his best to keep up the pretense of politeness in telling the current pitcher to wrap it up.  NONE of these people want to be here anymore.  It seems like everyone’s spent the whole day “warming ‘em up” for me, but now they’re all sweaty and miserable, so I can either go up there and give another mediocre pitch, OR I can go up there and try my goddamn hardest to make them laugh. 

I go up on stage, just IMMEDIATELY force myself to get over any fears I have, and I pitch W2H.  I screen a short mock trailer I made (no way I’d force them to sit through that whole fucking thing), and it’s sort of like a fever dream, because I can see all of the life returning to their faces, they’re WAY into it, I’m doing fucking GREAT somehow, despite literally zero experience… and when it was all said and done, it became abundantly clear that even though they all LOVED it, not a single one of them could help me.  None of them were animation producers.  None of them KNEW animation producers.  One guy suggested I go into comics, because “comics get turned into film and tv shows all the time”.  I just had the PERFECT fucking pitch, and I pitched to people who couldn’t fucking help me.  As I was leaving, many of them came up to me and actually thanked me for sending them off for the day on a good note.  There was a big dinner at like, the fucking Governers’ mansion or something that night, and again, some of them were coming up to me and thanking me, wishing me the best and all that.  I guess if nothing else, I learned what I’m capable of.


The second pitch was an ACTUAL disaster.  When I’d first graduated I thought I could pitch W2H to Frederator, ‘cause it seemed like a good fit.  They told me (understandably) that they couldn’t reverse-engineer a show from something I’d already produced, and also that it was inappropriate (despite having a show at the time called “SuperFuckers”, but whatever; language and subject matter are different things).  Later on I got an email from them, saying that someone in their office was familiar with my work, and they invited me to come pitch them something that wasn’t W2H.  They also said that I was free to swing by their office any time, even “just to hang out”, and that if I had any questions “whether it be pitching or where to get the best burgers in Burbank”, to hit them up.  How friendly!  How perfect!  I was JUST about to move out to L.A., so I started working on this idea tentatively called “Gayliens”.  I swung by their office once, you know, just to pop in, like they said; thought I’d make myself known or whatever.  They looked at me like I was nuts.  They still invited me in and we chatted for a bit about the history of early Disney studios, but when they asked why I was there, and I reminded them about the email they’d sent, they seemed to have no idea what I was talking about.  I told them I was working on a pitch for them and that I’d be in touch so we could schedule something.  

When I finally finished putting my pitch together, I went in for a meeting with them.  It was just 2 folks, we were in like a board meeting-type room (which I imagine is probably standard).  They made some small talk with me first, which I’m sure was an attempt to loosen us all up a bit and set the mood, but all of their questions really caught me off guard.  (I guess they asked where I was working, and when I told them I didn’t have a studio job, they asked how I was making money, and I’m sure it wasn’t meant to put me in an awkward position, but people asking me how I make money literally ALWAYS puts me in an awkward position, because my income sources are scattered and weird.  Try explaining how youtube ad revenue works to your social services worker, it’s a blast.) 

SO okay, I let myself get tripped up a bit.  I go on with the pitch; they don’t really want me to pitch the concept, they just have me show them my storyboards and read through the whole thing.  They’re DEAD silent the whole time.  I can’t get a read on them at all.  When it’s over, they ask me some more questions that trip me up.  Some of them are 100% my fault; they asked for a title, and I wasn’t ready to say “Oh, it’s tentatively called GAYLIENS,” out loud to people who I couldn’t get a read from.  

It’s all kind of a blur, but the few topics of discussion I remember them bringing up were that “the storyboards look almost TOO good”, like it was TOO polished or well-developed (which is sort of a backhanded compliment I guess???), because see, “when they made Adventure Time… blah blah blah it just started off as this loose idea, and once they were a season or so into it, they started expanding on the universe and developing the characters a little bit more…” — AS IF ANYONE doesn’t understand why AT got so popular???  You don’t have to TELL ME, I WAS WATCHING IT, I FUCKING KNOW.  No one gave a shit about AT until they got Rebecca Sugar and all these talented writers working on it a couple seasons in, and doing all this character-heavy shit.  I tried to present them with something that had all that character shit baked into it already, ‘cause I knew they were gonna’ use AT as an example.  But it seemed like they’re not looking for something that’s already developed with it’s own voice or sensibility, they’re looking for a vague idea that they can mold into something as they go.  


They also told me–and I still can’t get over this–that they’re looking for “”””””characters that people will want to cosplay as””””””, which is funny to me for a plethora of reasons; namely that they have no way of knowing that PEOPLE DO COSPLAY AS MY CHARACTERS, but also that I spent half of my time in college working on ridiculous magical girl Adventure Time crossover group cosplays (don’t fuckin’ laugh) like trust me I’m ALARMINGLY familiar with cosplay, and ALSO, that looking for a new property with the guidelines that it should be “the next big thing that some fucking nerds will dress up as at comic con” just seems like such an out-of-touch-but-trying-to-be-hip, capitalize-on your-fandom-doing-all-the-legwork-for-you, fucking executive thing to say.  I know I sound like a whiny art school kid saying that but my animation instructor was so anti-establishment, and I carry a lot of that with me still, and something about that statement–insignificant as it may be–kind of epitomizes how I feel about the industry?  It’s a hard thing to explain. 

I walked out of that pitch with my mind feeling like TV static.  My friends were waiting for me next door at a bakery and they were super excited, asking me how it went, and I was just like “I mean… BAD, for sure, but I don’t know where to even start.”  Hahaha.  I don’t know.  It just seems like everyone wants to play gatekeeper I guess.  They want This Thing™, but it can’t be too This Thing™.  They want the thing to have A Fandom™, but they don’t really understand fandom ‘cause they don’t participate in fandom.  They want Your Idea™ but they want to make it Their Idea™.  I don’t know.  I’m just angry and bitter and that’s my experience with pitching.  Admittedly some of what went wrong in these pitches was my fault, or there were circumstances beyond my control, and regardless of how that pitch went, I don’t actually dislike Frederator (I’m on their youtube network), and Fred Seibert has actually done a ton of iconic shit.

I don’t think I’ve ever AIRED MY GRIEVANCES in such great detail before, but there you have it.  If you want some tips on pitching, you can check out the links I provided at the beginning of the post; there’s tons of people out there who actually know their shit too, and they’d probably give more proactive advice.  I don’t know if this helps at all, but hopefully you can glean something from it!  That’s just my limited experience with it.  Haha.  Good luck!  

2017 DCI Show Idea:  Phantom Regiment “Bonfire”

As requested by @drumcorpshero​ (who provided this image above, damn son.) and since someone in DCI apparently listens to my ideas, a concept pitch for a Phantom Regiment show.  Based loosely on the graphic novel/movie V for Vendetta, this show would see the Regiment in a familiar role of an oppressed population that suffers under a ruler’s iron fist, but starts an uprising and overthrows the regime.  (Think Spartacus, Animal Farm, Propaganda, and RISE all wrapped into one.)

Reps include:

Fourth Ballet Suite by Shostakovich

Hellfire (from Hunchback of Notre Dame) by Menken and Schwartz

Fire of Eternal Glory by Shostakovich

Do You Hear The People Sing? (from Les Mis) by Claude-Michel Schoenberg

Fifth Symphony, Fourth Movement by Shostakovich

1812 Overture by Tchaikovsky 

Now that you have the basic idea, follow along with me as I lay this out one in detail.

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