Saturday, December 23, 2006
Monday, December 18, 2006
Sunday, December 17, 2006
So I'm not sure I'm going to take many more commissions involving people as subject matter. It's always hard for me. That is if it has to look like the person. And this took way too long. But heck I figured aout alot with it so that's a plus.
Posted by Razi Fioness at 7:16 PM
Saturday, December 09, 2006
Friday, December 01, 2006
So the following is notes from a lecture today. As of now it is only words but I might add drawings to illustrate further. Good stuff.
Cinematography as it relates to animation
Notes from Jeremy Laskey Presentation
ALL About Making CHOICES -Everything is a choice
ALL ABOUT DELIVERING INFO - to progress the story just as it is needs to progress
The audience MUST look exactly where you need them to
All to be considered in ShOt DeSign =
You don’t always need to justify why it looks that way – if it looks cool use it
THinGs to KeeP in MIND =
Think of unusual ways to shoot the subject
Everything need be on PURPOSE
Always consider the foreground and background elements
Light as a composition element
You can dramatically change the composition in a single shot
Low angle vs. high angle vs. normal
Light and Dark
Dividing the Frame
CaMeRA LENses =
WIDE Angle =
Increases the apparent distance between foreground and background
Some distortion – bending – barrel distortion
Greater depth of field
Vertical and horizontal lines are bent
Main Object many be distorted
Narrow LENses [telephoto lens]=
Compression of the focused space
Blur out of unfocused planes
Focus as composition tool
The Sharpest point becomes the focal point
ScrEEn DIrectION =
Tricky to learn but necessary
All to not screw with the head of the audience
Eye direction/contact causes stage line for the 180 boundary
When switching to a new stage line Previous eye-lines don’t matter anymore
In cuts the characters still have to be looking same direction
When introducing a new stage line:
Have to start with previous line before changing to another
All tied together
If done right you don’t get lost
But crossing the line can be useful for an effect
Crossing the line will demand attention
Causes Unsettling feeling
Makes you reset and focus harder
But can be Confusing
Camera moves can really help layout the geography and the directions
You can use a camera move to cross the line instead of cutting
Don’t want the audience to get out of the story
It will waist your animation time and
Could make them miss a point
Draw set on a down shot and figure out angles etc
Have to be looking at the same place in the screen
Same place in frame relative to staging line
Also applies to objects
CAMERA MoTION =
Not used as much but powerful
Dynamically changes composition
Movement as the story calls for it
Hard in 2d- can be a great discipline
Can really make it feel like real
Explore the Environment and have the audience take in the spatial relations clearly
The camera move can show that the moment is important
It holds on the moment instead of cutting
Cool change of composition
Can give you a style feel and mood feel
Dictate a move that makes you feel like the camera is you as a character and the way it moves dictates how you are in this scene
Can make feel unplanned not mechanical
There always needs to be motivation for movement
Camera movement motivated by character movement
Quality of camera move
The camera is affected by environment moving around obstacles and moving in a way that reflect what is going on and were it is in
Turn of camera move/ presence needs to uphold the story
Just because you can doesn’t mean you should do it!
Setup w/o talking
CHARACTER STaginG =
How characters are staged in relation in a frame
More creative ways to show who has the edge
You can All of a sudden show character
Carefully reveal characters
Figure out the best way to present it the actions that need to be shown
Think as if you were a live action camera crew,
Chose angles in a set
Storyboard artists are concerned with what the character is doing
In some cases the set may need to be changed for the character
Keep in mind how the blocking needs to happen
If in needs to be seen show it!
EYE FIX =
Easy but very important
Basically it is a good idea to hook shots to gather by having the ending focus in the same area as where you need to be looking in the next shot.
Especially important with close ups to wide shots or vise versa
Always remember how big it will end up in the theater
When you have everything to put together
Figure out you visual queues
Establish the mood
Drawing you into the scene
ALL based on MOOD and TONE of the scene
QUESTIONS to KEeP in MInD =
What shots do I need?
How can I make this interesting?
What is the most important thing?
What looks cool vs. what fortifies the story
Have you explored more creative options?
HOW do I Make it Work
Is the Story GREAT?
All the presidents Men
Touch of evil – Orson wells
Armageddon for cinematography
How to kill a mocking bird
Posted by Razi Fioness at 11:53 PM
Thursday, November 30, 2006
Friday, November 10, 2006
::[ Gesture Drawing ]::
As an Animator we of course need to take in life through quick sketches that capture movements and mood instead of detail per se (life drawing.)
Notes and Tips, Via Ted Ty and My self:
Always finish off the hands
Try and challenge yourself Every now and then with your gesture drawings. Get images and views that are difficult to get but show more than an impersonal view of a person.
Where Sun Glasses when you can get away with it and not look weird.
Turn your head away from the person you are drawing but look at them through the corner of your eye. You will find that you can get better drawings when they aren't aware of it (not to mention less nasty looks.)
Always indicate the context.
Commit, make a choice and draw it.
It caught your eye so commit and get it down.
Be Bolder, You can always turn the page if you don't like it.
HAnds and Feet!
A Good exersize is to walk and draw all the while commiting to one capture after another.
Interesting drawings that make you wonder
Posted by Razi Fioness at 7:01 PM