Week 8

oh hoe hum golly.
yep this is ze week our lovely assignments were doneskies!
i found it a little challenging, but it was ok.
i think i used too many shitty pan movements in it, which could be what added to the shittness of the whole thing.
but hey, the sketches went ok.

but really, in week 8 we learned about backgrounds and shiz, but pretty much worked on our assignments! pretty grand eh!

Foreground
An element that is up close.

Mid-Ground
is the main acting stage for the animation to take place. Environmental objects are also drawn in
but do not interfere with the animation.

Background (BG)

Is the furthest portion of the environment such as mountains, trees, clouds or stars in space. Generally there is very little detail drawn in this area.

Eye candy is a term often used to describe a drawing that controls and creates interest for the
person viewing a drawing.

ABOUT THAT ASSIGNMENT...

i tried to capture the different scenes to the best of my ability with different shots. hopefully it turns out ok! lol

Week 7

HARGH

MARTHERFARKER!

this week we learned about Field Guides and Overlay / Underlays.

Confusing much!

it wasnt one of my favorite tutes im not gonna lie, (dont stress mark, it wasnt the teaching, it was just the content confused me a little!)

but i summed up what i think i know lol.

i just hope to god im right.

otherwise im up shits creek without a paddle!

GAY!

aherm *clears throat*

GRATICULE
a grid system that has a ratio aspect of 1:3/4 (Box Television) or 1:9/16 (Widescreen).
Horizontal measurements = blocked in inch sections
Vertical measurements = are blocked in 3/4 of an inch
Why? This is the size and settings of most television and theatrical movies.

The grid system of the graticule is used to accurately create field guides in the layout department.
These field guides are what the camera will see in the scene. The graticule grid system can be
purchased at a 12 Field (FLD) maximum, a 16 FLD maximum and at a 32 FLD maximum sizes.

FIELD GUIDES

the layout field guides are coloured in order from BLACK, to RED, then BLUE
A = created for each scene using the graticule to show how much imagery the camera will see.

B = 2 portions to the field guide. outer line - shows the field size while
inner line shows the television cut off

Tv Cut Off - the portion of the field guide known as the safety zone.

The animation peg bar ruler
is measured in 20ths of an inch. So no to rulers.
peg bar ruler = measure the distance of pan.

Pan Details
A pan = long piece of artwork that has more than one 12 FLD page in length.
camera can move anywhere within the one 12 FLD sheet.
Camera directions = recorded on first field guide in the top left hand corner.

info shows = direction, start + finish of pan.

Pan/Camera Directions
A 1st Field Guide = BLACK pencil lines
B 2nd FG = RED lines
C 3rd FG = BLUE lines

This is an example of top peg labeling. Note the position of where the POS is placed. Never write over, or allow division by the peg hole, as info can be lost.

LO¢, = (left of centre)

Artwork Information Box
The bottom right corner of any layout page is an information box. Be it a circle, a box or a line
separating the details, the information states:

Ø PRODUCTION
Ø NAME,
Ø SHOW NUMBER,
Ø SCENE NUMBER ELEMENT TYPE.

Additional Poses
All layout poses are drawn in blue.
red arrows are drawn near the pose or action.
naming of props + characters = marked in black.

LAYOUT = OVERLAY / UNDERLAY

An overlay/underlay is a level of non-animated artwork, designed to assist in creating depth.

Held Cels (HC)
Held cels are separate elements, which at some point in time, will be animated.

This is a typical layout breakdown drawing of levels.

Match lines = two identically placed lines, one on the background element and one on the animation. The purpose was to allow an animated character or object move behind a
background element, without the animation interfering with that element.

Tangential Growth = Objects behind or in front that appear to grow out of
the character. Lines of two objects converge to become one line

A Match Cut = cutting to a character in the exact same pose only different angle.

A Hook-Up = cutting from one scene to the next with a character in motion.

Perspective Grids = Ensure that all characters are securely drawn on a perspective grid.

sooooo thats all of that.
i am rather confused with all this POS definition abbreviation shiiit but.
so if any of you darlings could help me
i would love you forever for it!
hugsss and schloppy kisses!
x x x

Week 6

woohoo heres cheers for lecture - tute full-on-ness!

todays was a whopper of a lesson!

Storyboards + Layouts = OMFGODNESS!

to sum it up....

STORYBOARDS

A series of panels roughly depicting scenes, copy, and shots proposed for a television commercial. The storyboard gives the client a good idea of the agency's concept for a commercial, before extensive production charges are incurred.

No one style of storyboard is universal.

The preferred aspect ratio these days however is Widescreen or 1:9/16

The creation of background layout is based directly on the artwork in the storyboard.

Production Notes

Action / notes ---> explain what the imagery is showing.

Dialogue and sound effects ---> are placed in a box with the character's name.

Timing ---> added to assist in speaking and action. Effects the total running time of the show.

Scene Transition / camera directions ---> how the scene will end, transition to the next scene and whether or not there is a camera movement.

CUT: The end of a scene
FADE-IN: Starts dark and gets bright.
FADE-OUT: Starts bright and gets dark.
CROSS DISSOLVE: A combination of fade-out and fade-in produces a "ghost-like" effect as one
scene disappears while the other appears at the same time.

MODEL SHEETS
Character Pose sheets ---> involves character line up comparison, five different poses of the one character, character mouth shots, and prop sheets (different poses of an object).

LAYOUT IS THE CRUCIAL STEPPING STONE TO THE REST OF THE PRODUCTION. PLAN THISSTAGE THOROUGHLY!

Week 5

This week we dived into our storyboard assignment.

i chose the blue part of the script, and we were allowed time in our tute to start doing a shot breakdown and start sketching thumbnails.

fun fun.

i was struggling a little because many of the shots were of the landscape.

it was tough deciding how i could capture the scene the most effective.

gay!

We discussed the dynamics of perspective and thumbnails today.

ill sum up the most important parts shall i....

Perspective ---> allows the artist to graphically depict 3D objects on paper or other media, as they exist in space.

Point of View (P.O.V.) ---> what you see from where you are looking.

Station Point ---> This is the point from which the viewer is looking from.

Picture Plane ---> a cropped portion of the scene. like looking through the camera lense.

Field of Vision ---> what the viewer sees while standing at a stationary point.

Convergence ---> Is the point in which all lines meet at one vanishing point.

Diminution ---> Decreasing or reducing some things as they are placed in perspective.

One-Point (Parrallel) Perspective---> has a horizon line and one vanishing point.

Two-Point (Angular) Perspective ---> has of two vanishing points that both horizon.



Three Point (Oblique) Perspective ---> has two vanishing points on the horizon
while a third point is above or below the horizon line.

Incline Plane ---> Incline planes are areas which slant to / away from the
main perspective grid by utilizing a third vanishing point directly above one main VP.

ABOUT THUMBNAILS...

They dont have to be ridiculously small. as long as you get the main gist of what's going on within the layout, its all good!

Its best to use several 8 1/2" by 11" sheets of paper or a sketchbook and a black pencil.

Week 4

hookaaay.

so, this week we started to get into all sorts of storyboard mischief!
we checked out the script for our assignment, and got some hand outs that would be handy for our animatic. to sum it up ---->


DRAWING
Gesture and expression are far more important than beautiful technique.
Drawing quickly and efficiently are pluses but none of it matters if the artist can't stage or edit or tell a story.

STAGING
The arrangement of people, objects in space, and movement through that space in a clear manner is vital. The staging of the scene will be influenced by acting,composition, camera movement and editing.

FILM CONTINUITY

A detailed script/ scenario consulted to avoid discrepancies from shot to shot in a film, so the various scenes to be shot out of order.

ANIMATION MECHANICS

Except for monetary and time constraints, almost any shot imaginable is possible. However, depending on the budget and knowledge of mechanics you run the risk of fucking up the shot in a cheaply simulated way, or worse, having your shot discarded completely by someone further down the production line.

CINEMATOGRAPHY

Camera Movement

camera moves must be combined with appropriate animatic effects to capture the scene successfully. Complex shots are often costly in time and money, and they may add little or no effect to the story. Simple shots are often better.

Lighting

Crucial decisions about lighting, especially mood lighting, are made at the storyboard
stage. The lighting has dramatic impact on the emotion of the scene, and must be done properly.

Composition

compostition = where you put the camera & length of the shot.

It depends on how the scene is staged and what you want the audience to see and how you want them to see it.

The shot before and after the scene must also be considered.

EDITING

The progression of images over time has a cumulative effect on rhythm, clarity, mood, pace and impact. Too much reliance on close-ups, or pans, both diminish the dynamics of the story as well as the impact of the shot.

ACTING

dramatic cartoons = characters stand around with hands on hips /arms folded /arms hanging at the side.

Realistic / funny cartoons = characters reuse the same old poses over and over again.

Posing is acting of the body. its important in animation to capture it = effective.

GAG STRUCTURE

Gags are broken down into set-up, development and payoff. They seem to fail because they are not set up clearly.

SCRIPT VS. BOARD

---> It is up to you to determine what best suits the needs of your project -- writing a full script

and then storyboarding, or doing the storyboards straight from a concept

---> Write your scripts in the proper script format.

---> Board out all key motions at beginning and ending of each action, not just one drawing per

scene.

PRACTICAL ADVICE

---> Storyboards should never be drawn on the art supply store pads that have black around

the panels or that have rounded corners

---> Storyboard sheets should be letter size (8 1/2" x 11" or 8 1/2" x 14") for ease of

copying and storing

CAMERA SHOTS - CHEAT SHEET

comes in handy during this storyboarding business. in case you cannot see... the link is here:

http://i95.photobucket.com/albums/l131/dotty166/cameraangles.jpg