Change In Project

Change In Project

So I got accepted onto a Disney Research project...resulting in some changes to my project...

I have worked up my narrative fully but I will not be pursuing the animation further as it was suggested that the work I do for the Disney project will be my practical work. I will still discuss the narrative aspects of developing a character in my dissertation, but I wont have the animation side of things. It is also worth noting that my position is Mocap/acting lead but I am also part of the narrative team.

This has worked out well for my project since I focused so much on the narrative for my own project and now I have been helping with the narrative on this Disney project.

The work that I post from now on will relate to the Disney project but I am not scheduled actual mocap stuff for a few more weeks.

Summary:

My project has changed into a Mocap/acting focused project but I can still compare the aspect of animating an acted performance and directing an acting performance. I am sure that I will gain a lot from the process of actually directing the performance of a character.

Finalised Narrative

Finalised Narrative

Today I have finalised my story beats and my 3D animatic. The final story beats will be placed into another post to keep things clear. Below are all my versions of the animatic that I could muster up. The final one is at the top with us going backwards in iterations the further down the post you go. I would recommend watching the top animatic first then scrolling to the bottom and viewing them from the bottom up to get a sense of the changes that have taken place throughout the first 4 weeks of this semester.

I started my animatic process with story beats before translating them into 2D storyboards using Photohsop. This process was helpful to allow me to play around with the timing but because of my limited drawing, I focused on the actions more than the camera angles during the 2D animatics. I used them to bash out as many beats as I could to try and get my narrative across to people.

After I had a good base for my narrative I moved into Maya to create a 3D animatic so I could use camera angles/movements to their fullest. I started out with a lot of camera movements which, with each 3D iteration, I got rid of based on feedback. My final cut is pretty close to how I imagine the final piece being; there may be some slight alterations in the final piece when I have all the animation in.

3D Animatic 05:

The narrative is slightly different from the final animatic above. The bit when the main character hesitates before going through the door for the first time has been altered so that a mystical power pushes him through the door. There is also a possibility that the shot will be tilted to really emphasise the power of this door. A render can be seen below of how it might look. I am going to animate it in such a way that I can add the tilt at the end without the animation having to change, but also, if I decide I don't want the tilt then the animation will not need to be changed.

3D Animatic 04:

3D Animatic 03:

3D Animatic 02:

So the main things that were changing during this 3D animatic stage was camera placements/movements, story beats and pauses (to set a pace at which was dictated by the character).

3D Animatic 01:

This was my first 3D animatic, so I chose to continue my animatic in Maya because it allowed me more freedom with cameras. The main feedback I got on this was based around the cameras and how best I could use them. The main difference between the cameras in this animatic and the final animatic is the moving cameras. This animatic has lots of moving cameras but after much feedback from the lecturer I got rid of the moving cameras and stuck with stationary ones and used cuts instead. The change in cameras though was more gradual and I still had a few camera movements in later iterations.

Storyboards 02:

This is the second main iteration of the 2D animatic. After feedback I went in and added camera changes, I still felt constricted by my drawing ability. That is why I chose stick men, I would probably still be doing the storyboards now if I tried to make the drawing life like in any way. The narrative also altered slightly but not drastically.

Storyboards 01

This is the very first animatic created in Photoshop. Here I literally storyboarded every beat that I had in this early stage. I also wanted to focus mainly on the beats and getting the points of the narrative across, so I kepts the storyboards at the same angle so i could focus on the beats rather than where the camera would be.

Finalised Story Beats

Finalised Story Beats

These are my final story beats. The major change has been between the female character and the dog. I have made the door close on the female and not the dog. This is to make a more powerful moment where the main character as the female grows stronger trying to get the door open. they show that they want to get through the door more than before.

Action beats

The scene starts with the singular character, Brando, appearing in this bare environment that only consists of a door as far as Brando can see. The audience discover things at the same time as the character. Before he was plucked from his life, Brando was walking down the street muttering to himself about his life. He wants better for himself but he is too comfortable where he is so doesn’t take the necessary risks for change. His mutterings consist of how he doesn’t take opportunities that present themselves.

Colour Code:

Character 01: This is the main character

                Confusion/Frustration/ Reluctance

                                The first character is down and also apprehensive and confused.

Character 02: This is the main characters First Body Change – Another man

                Surprise/Shock

                                This character is surprised at the appearance change and also extremely shocked.

Character 03: Second Body change – Chubby Kid

                Restrained Happiness/Desperation

                                This character is in anguish now.

Character 04: Third Body Change – Female

                Sadness/Depression

This character doesn’t know what to do and needs to find an inner strength to keep things together.

Character 05: Fourth Body Change – Dog

                Happy/Acceptance

                                This character lets go and just behaves in a happy manner.

Character 06: Back to Original

                Relief/Contempt

                                This character is a changed man now, he leaves in a good mood.

Action Beats/Story Beats

Character 01: This is the main character

                Confusion/Frustration

1: Brando starts off in the environment with the magic door. (Ultra-wide shot)

                He is far from the door.

2: At first he doesn’t quite realise where he is. (wide shot cut)

He is now reasonably close to the door but the audience don’t see him walking towards it. This is to warp their perception of distance in this opening part.

3: He has his head down doing head movements like he is giving himself a ‘talking to’. (close up cut)

These are his emotions that he has carried over from the world he has been plucked from. He is not happy with his life and wants change for the better but he doesn’t want to leave his life that is safe. He hasn’t realised where he is yet.

4: He begins to realise that he is in some strange environment. (close up)

                Confusion creeps across his face.

4: a: Pauses with Brando looking at the door. (wide shot)

                Puzzled face.

5: Walks towards closed door. Pause. Thinking. (same shot)

                Confusion turns to curiosity.

6: Examines door, looks around the doorframe to only see the other side of the environment. (Wide shot with Brando and door on left of screen to foreshadow him looking around it)

7: Opens door and looks confused. Pause. (back to wide shot)

                Slight frustration and some more confusion.

7: b: He takes a step away from the door backwards, not wanting to bother with whatever is happening. (Wide shot)

                His face reads of someone who doesn’t want the hassle.

7: c: He tries to back off some more but something is physically stopping him, a mystical force.

7: d: He fights it, but loses the battle and ends up getting pushed through the door.

Character 02: This is the main characters First Body Change – Another man

                Surprise/Shock

9: Comes out looking different (Franklin rig). (wide shot)

10: Doesn’t realise at first, he turns around to look at the door once more. (Wide shot)

                He is a little disappointed, he worked himself up to expect something special to happen.

11: Looks down the doorframe and suddenly notices he has rather large feet. (Wide shot)

11.a: We see his feet at close up shot.

12: Movements of panic as he feels his face. (Close-up)

                Horror.

13: Looks back at the door – realisation of what must have happened. (Same shot)

                Desperate emotions as he doesn’t know what to do.

14: He examines the door in a calm fashion. (Same shot)

                Curiosity.

14.a: He stretches his foot through the door coming out the other side but as a different foot. (Same shot)

14.a:a: Look of worry and shock, he has somewhat realised that this situation isn’t a good one.

14.b: He hesitates for just a brief moment before stepping through with urgency.

Character 03: Second Body change – Chubby Kid

                Desperation

15: Comes out as a chubby kid. (Wide shot)

16: At first he is happy but he then restrains himself. (Close up – looking up)

                This reaction is because he now knows what is going on…but he isn’t exactly happy about it.

16.a: He at first appears relieved not to be the character from before but quickly realises he is still not himself.

17: He doesn’t have much hope at this point. (Wide shot)

                Head down.

17.a: He storms through the door with determination. A little pissed.

Character 04: Third Body Change – Female

                Sadness/Depression

18: She goes back through the door and comes out as Sam (the female). (Wide shot)

19: a: She walks a few steps to the right.

Upset, being a female allows her to express her emotions more? Since men tend to keep it inside as the stereotype tends to go.

20: She has a moment where she collects herself, does that movement where you straighten yourself up before going about the rest of your day. Where you collect yourself.

Comedic moment where just as the character collects their emotions…another emotional obstacle appears before them.

20: a: Suddenly the door begins to close behind her and stops “ajar”.

Her head perks up and she turns to look at the door.

20: a: b: She goes to push on the handle but the door suddenly closes before she can grab the handle.

                This reveals the door to be a sentient being of sorts, it becomes an antagonist.

20: a: d: Her head goes down and her body deflates for a second then her posture changes to someone who is getting frustrated and is rising to this challenge.

20: a: e: She puts her hands on the door and walks around to the other side of the door banging on the other side of the door as well.

20: a: f: She pauses again on the other side of the door, hands resting on door with straight arms.

20: a: g: She walks around once more back to the side she came out from.

20: a: h: The door opens ajar again while she is standing in front of the door.

20: a: i: This time she gets her foot in the door before it can close on her and she shoulder barges her way through.

Character 05: Fourth Body Change – Dog

                Happy/Acceptance

21: He comes out as a dog. (Camera slowly moves to other side of the door)

                (There is a pause from when the camera gets in position and when the dog comes out)

21: a: He looks around in wonder at the world seen from a dog’s perspective, all the while taking a few steps away from the door as he gets engrossed by it all.

22: He chases his tail a bit and rolls onto his back. (Mid-shot of dog with the door in view)

23: He is having a blast but then he gets up-right and looks at the door longingly. He hesitates for a moment before happily walking through the door.

                This is to contrast the first time he walks through the door with a lot of hesitation.

Character 06: Back to Original

                Relief/Contempt

30: He comes out as his original self. (maintain wide shot)

                His first moments still have him behaving like a dog.

31: He is relieved and overjoyed, he hugs himself and feels his face to double check it is him. (Same shot).

                He couldn’t be happier. A look of him feeling like he needs to stay happy.

32: He then confidently walks to the right of screen. (Same shot)

33: a: Before leaving, he looks back at the magical door with a wry smile. (Close up)

                Suggest he has gotten the meaning behind what has happened to himself.

33: Shot through the door looking towards Brando as the door closes slowly while he is walking away.

Story Beats 03

Story Beats 03

Below are my revised story beats to go with my 3D animatic.

Action beats

The scene starts with the singular character, Brando, appearing in this bare environment that only consists of a door as far as Brando can see. The audience discover things at the same time as the character. Before he was plucked from his life, Brando was walking down the street muttering to himself about his life. He wants better for himself but he is too comfortable where he is so doesn’t take the necessary risks for change. His mutterings consist of how he doesn’t take opportunities that present themselves.

Colour Code:

Character 01: This is the main character

                Confusion/Frustration/ Reluctance

                                The first character is down and also apprehensive and confused.

Character 02: This is the main characters First Body Change – Another man

                Surprise/Shock

                                This character is surprised at the appearance change and also extremely shocked.

Character 03: Second Body change – Chubby Kid

                Restrained Happiness/Desperation

                                This character is in anguish now.

Character 04: Third Body Change – Female

                Sadness/Depression

This character doesn’t know what to do and needs to find an inner strength to keep things together.

Character 05: Fourth Body Change – Dog

                Happy/Acceptance

                                This character lets go and just behaves in a happy manner.

Character 06: Back to Original

                Relief/Contempt

                                This character is a changed man now, he leaves in a good mood.

Action Beats/Story Beats

Character 01: This is the main character

                Confusion/Frustration

1: Brando starts off in the environment with the magic door. (Ultra-wide shot)

                He is far from the door.

2: At first he doesn’t quite realise where he is. (wide shot cut)

He is now reasonably close to the door but the audience don’t see him walking towards it. This is to warp their perception of distance in this opening part.

3: He has his head down doing head movements like he is giving himself a ‘talking to’. (close up cut)

These are his emotions that he has carried over from the world he has been plucked from. He is not happy with his life and wants change for the better but he doesn’t want to leave his life that is safe. He hasn’t realised where he is yet.

4: He begins to realise that he is in some strange environment. (close up)

                Confusion creeps across his face.

4: a: Pauses with Brando looking at the door. (wide shot)

                Puzzled face.

5: Walks towards closed door. Pause. Thinking. (same shot)

                Confusion turns to curiosity.

6: Examines door, looks around the doorframe to only see the other side of the environment. (Wide shot with Brando and door on left of screen to foreshadow him looking around it)

7: Opens door and looks confused. Pause. (back to wide shot)

                Slight frustration and some more confusion.

7: b: He takes a step away from the door backwards, not wanting to bother with whatever is happening. (Wide shot)

                His face reads of someone who doesn’t want the hassle.

7: c: He physically stops himself, then he turns around back towards the door. (Mid-shot)

7: d: He pauses for a moment, eyes closed, deep breath. (Mid-shot)

8: Takes a step through the door. (Mid-shot)

                At this point he has the appearance of “fuck it, let’s see what is going on”.

Character 02: This is the main characters First Body Change – Another man

                Surprise/Shock

9: Comes out looking different (Franklin rig). (wide shot)

10: Doesn’t realise at first, he turns around to look at the door once more. (Wide shot)

                He is a little disappointed, he worked himself up to expect something special to happen.

11: Looks down the doorframe and suddenly notices he has rather large feet. (Wide shot)

11.a: We see his feet at close up shot.

12: Movements of panic as he feels his face. (Close-up)

                Horror.

13: Looks back at the door – realisation of what must have happened. (Same shot)

                Desperate emotions as he doesn’t know what to do.

14: He examines the door in a calm fashion. (Same shot)

                Curiosity.

14.a: He stretches his foot through the door coming out the other side but as a different foot. (Same shot)

14.a:a: Look of worry and shock, he has somewhat realised that this situation isn’t a good one.

14.b: He hesitates for just a brief moment before stepping through with urgency.

Character 03: Second Body change – Chubby Kid

                Desperation

15: Comes out as a chubby kid. (Wide shot)

16: At first he is happy but he then restrains himself. (Close up – looking up)

                This reaction is because he now knows what is going on…but he isn’t exactly happy about it.

16.a: He at first appears relieved not to be the character from before but quickly realises he is still not himself.

17: He doesn’t have much hope at this point. (Wide shot)

                Head down.

17.a: He storms through the door with determination. A little pissed.

Character 04: Third Body Change – Female

                Sadness/Depression

18: He goes back through the door and comes out as Sam (the female). (Wide shot)

19: Upset, being a female allows him to express his emotions more? Since men tend to keep it inside as the stereotype tends to go.

19: a: He walks a few steps to the right with his head down and wiping his face with his arm.

20: He has a moment where he collects himself, does that movement where you straighten yourself up before going about the rest of your day. Where you collect yourself.

20.a: He turns around and calmly walks through the door.

Character 05: Fourth Body Change – Dog

                Happy/Acceptance

21: He comes out as a dog. (Camera slowly moves to other side of the door)

                (There is a pause from when the camera gets in position and when the dog comes out)

22: He chases his tail a bit and rolls onto his back. (Mid-shot of dog with the door in view)

23: The door closes. (Same shot)

A moment of silence as he looks at the door. His face also silent of emotion. Tongue out panting, wides eyes and bouncing ears is all that is given away.

24: He dashes towards the door and starts scratching at the bottom of it. (Close-up shot of him scratching)

                Panic rushes over him. He wants the door open, he wants to go through it again and become himself.

25: He realises he might be stuck forever. (Same shot)

26: He takes a few steps back and sits with his back to the door and his head down. (Wide shot – door on right of screen)

                He almost doesn’t know what to do, he has almost accepted his fate.

27: A few moments of him with his back to the door. (Same shot)

28: The door opens slowly. (Same shot)

28: a: His ears pick up the sound and his head picks up. (Same shot)

29: He quickly turns around and sprints for the door. (Same shot – camera tracks to other side of door to see next change)

29.a: He stops just before the door and hesitates for a moment, is he sure he wants to go through?...after all, he is happy as the dog. He acts like he will miss being a dog (his happy side).

Character 06: Back to Original

                Relief/Contempt

30: He comes out as his original self. (maintain wide shot)

                His first moments still have him behaving like a dog.

31: He is relieved and overjoyed, he hugs himself and feels his face to double check it is him. (Same shot)

                He couldn’t be happier. A look of him feeling like he needs to stay happy.

32: He then confidently walks to the right of screen. (Same shot)

33: a: Before leaving, he looks back at the magical door with a wry smile. (Close up)

                Suggest he has gotten the meaning behind what has happened to himself.

33: Shot through the door looking towards Brando as the door closes slowly while he is walking away.

Summary:

I have totally reworked the female character change and I have also slightly altered various beats of the other characters; none of the others have had major changes though. My 3D animatic will be shown at today's mentor meeting where I will get more feedback. I feel I should get my animatic down by the end of this week so I can begin animating.

3D Animatic - Feedback

3D Animatic - Feedback

Today I got feedback on my 3D animatic from Brian; I got some great feedback that relates to the overall narrative, emotional states of characters, tone, camera changes and also about the need to constantly update my story beats.

The conversation got quite deep into the narrative, more so than I thought but Brian has really dug into my narrative exploring all these different themes that I had not really thought about.

The emotional side of the narrative and the themes of it will be explored in my next iteration of story beats when I alter them; I am also going to include all the underlying themes to help me to truly bring out the strongest narrative.

I haven't had a good time trying to think of things to put in my dissertation that also relate to my practical work...but once thought has popped up, staging! I got lots of feedback about where to place my camera and where the character should be...this is essentially staging. This shows the importance of staging in animation; even though it is not animating itself, it is still an important aspect of an animation to give the audience a chance to see the character in the way that is needed.

Plan:

Tomorrow and Friday: Make as many changes to 3D animatic as humanly possible

Weekend: Write about a couple of topics for my dissertation

Monday: Meeting with Brian to get feedback on dissertation

Mentor Meeting 03

Mentor Meeting 03

I explained to my mentor, Brian Robinson, today about my situation with making a 3D animatic. I will have a meeting with him to get feedback on my 3D animatic tomorrow. This will give me time to actually implement feedback from last week's mentor meeting so I then have feedback added with my 3D animatic. 

Today's main focus seemed to be on the dissertation. We are steadily working up content for our dissertation to get the ball moving. The earlier we start then the more of an upward curve we can get going. I will also be getting a meeting with Brian on Monday to go over what I have of my dissertation by then.

Summary:

Tomorrow - meeting with Brian Robinson for feedback on 3D animatic.

Monday - Meeting with Brian again to get feedback on my dissertation.

3D Animatic

3D Animatic

I have recently discovered "referencing" in Maya itself. This is a method of referencing a rig from an external file into your main scene file for animating. Essentially, I have my source rig file with no keyframes and in my scene I can make a reference to that source rig file, allowing me to animate using the model but without the rig actually being in the scene in full. I have read that this is common practice in the animation industry for the reason that this allows the animator to animate on  model when the rig is in place but perhaps the model is still unfinished. A modeler can then update the source rig file with updates to the model and the animators model will then be updated the next time they open up their own scene file with the reference to the rig.

All the sources online that I went through didn't mention anything about source control being in this pipeline but I assume that for the bigger studios who use referencing in Maya, source control would be the basis of making this work in a pipeline to allow animators to begin animating before the model is fully complete.

The reason I looked into referencing in Maya is because I obviously encountered problems with having 5 rigs in the one Maya scene. This is where referencing has helped me hugely to keep my scene manageable. My problems with the 5 rigs were mainly Maya acting slow and also laggy playback while in the viewport. Scrubbing the timeline was also a pain. It was very time consuming though rectifying all this. I had to reference in each of my rigs and then I had to copy and paste the keyframes from each controller of the old rigs onto the referenced rigs.

Summary:

I have managed to convert my 2D animatic to 3D which I will get feedback on tomorrow; this gives me time to actually implement the feedback I got from last week's mentor meeting.

Life Drawing

Life Drawing

I was able to attend another life drawing class in the university yesterday which focused on fabrics. Sadly, with the paper I used with pencil won't give me any clean photos of them so you'll just have to take my word for it that they were perhaps pieces to rival some of the greats.

At the start of the class we also did some quick gestures drawings to get back into the swing of things. There isn't much else to say about this without the drawing themselves.

Mentor Meeting 02

Mentor Meeting 02

Today has seen me get feedback on my 2D animatic again. I decided to transfer over to a 3D animatic for next week so that I can and fully utilise the camera tools in Maya. I will make the 3D animatic based on my latest 2D animatic (before adding any feedback from this mentor meeting). I got a lot of great feedback as well on the 2D animatic which will be added for next week hopefully.

Animatic 02

Animatic 02

Today I have finished my first batch of revisions for my story beats and animatic based on feedback for Brian Robinson.

Below is my animatic version 02.

The main changes for this is the implementation of camera movements. Most of the changes have occurred in the story beats where I have slightly altered narrative point and I have also added camera positions into the text itself. One of the more significant changes is the colour code. I decided to give each part of the narrative a colour for each different character that appears. This allows you to look at the story beats and visibly see where the character changes. I have also tried to narrow each character change down to a few core emotions and it turned out that I had somewhat the basis of the five stages of grief reflected in each of my five character changes.

Action beats

The scene starts with the singular character, Brando, appearing in this bare environment that only consists of a door as far as Brando can see. The audience discover things at the same time as the character. Before he was plucked from his life, Brando was walking down the street muttering to himself about his life. He wants better for himself but he is too comfortable where he is so doesn’t take the necessary risks for change. His mutterings consist of how he doesn’t take opportunities that present themselves.

Colour Code:

Character 01: This is the main character

                Confusion/Frustration

Character 02: This is the main characters First Body Change – Another man

                Surprise/Shock

Character 03: Second Body change – Chubby Kid

                Anger/Desperation

Character 04: Third Body Change – Female

                Sadness/Depression

Character 05: Fourth Body Change – Dog

                Happy/Acceptance

Character 06: Back to Original

                Relief/Contempt

Action Beats/Story Beats

Character 01: This is the main character

                Confusion/Frustration

1: Brando starts off in the environment with the magic door. (Ultra-wide shot)

                He is far from the door.

2: At first he doesn’t quite realise where he is. (wide shot cut)

He is now reasonably close to the door but the audience don’t see him walking towards it. This is to warp their perception of distance in this opening part.

3: He has his head down doing head movements like he is giving himself a ‘talking to’. (close up cut)

These are his emotions that he has carried over from the world he has been plucked from. He is not happy with his life and wants change for the better but he doesn’t want to leave his life that is safe.

4: He begins to realise that he is in some strange environment. (close up)

                Confusion creeps across his face.

4: a: Pauses with Brando looking at the door. (wide shot)

                Puzzled face.

5: Walks towards closed door. Pause. Thinking. (same shot)

                Confusion turns to curiosity.

6: Examines door, looks around the doorframe to only see the other side of the environment. (Tracks into a mid-shot with Brando and door, camera pans with Brando to the other side of the door with a puzzled expression)

7: Opens door and looks confused. Pause. (back to wide shot)

                Slight frustration and some more confusion.

7: b: He makes a move away from the door, not wanting to bother with whatever is happening. (Wide shot)

                His face reads of someone who doesn’t want the hassle.

7: c: He physically stops himself, then he turns around back towards the door. (Mid-shot)

7: d: He pauses for a moment, eyes closed, deep breath. (Mid-shot)

8: Takes a step through the door. (Mid-shot)

                At this point he has the appearance of “fuck it, let’s see what is going on”.

Character 02: This is the main characters First Body Change – Another man

                Surprise/Shock

9: Comes out looking different (Franklin rig). (wide shot)

10: Doesn’t realise at first, he turns around to look at the door once more. (Wide shot)

                He is a little disappointed, he worked himself up to expect something special to happen.

11: Looks down the doorframe and suddenly notices he has rather large feet. (Wide shot)

12: Movements of panic as he feels his face and looks at his hands. (Close-up)

                Horror.

13: Looks back at the door – realisation of what must have happened. (Same shot)

                Desperate emotions as he doesn’t know what to do.

14: In a determined fashion, storms through the door once more. (Same shot)

Character 03: Second Body change – Chubby Kid

                Anger/Desperation

15: Comes out as a chubby kid. (Wide shot)

16: Despair and anguish at the second appearance change. (Close up – looking up)

                Shock. Now he is really desperate.

17: He doesn’t have much hope at this point. (Wide shot)

Character 04: Third Body Change – Female

                Sadness/Depression

18: He goes back through the door and comes out as Sam (the female). (Wide shot)

19: His mood picks up a little as he admires the body but when he tries to walk it fails. (Same shot)

                He is breaking down, he is a woman and he can barely walk with the slim legs/small feet.

                Even more desperation.

19: a: He is on his knees with his head in his hands. (Mid-shot)

20: He hobbles back to the door and walks through. (Tracking wide shot – camera follows him crawling to the door)

Character 05: Fourth Body Change – Dog

                Happy/Acceptance

21: He comes out as a dog. (Camera slowly moves to other side of the door)

                (There is a pause from when the camera gets in position and when the dog comes out)

22: He chases his tail a bit and rolls onto his back. (Mid-shot of dog with the door in view)

23: The door closes. (Same shot)

A moment of silence as he looks at the door. His face also silent of emotion. Tongue out panting, wides eyes and bouncing ears is all that is given away.

24: He dashes towards the door and starts scratching at the bottom of it. (Close-up shot of him scratching)

                Panic rushes over him.

25: He realises he might be stuck forever. (Same shot)

26: He takes a few steps back and sits with his back to the door and his head down. (Wide shot – door on right of screen)

                He almost doesn’t know what to do, he has almost accepted his fate.

27: A few moments of him with his back to the door. (Same shot)

28: The door opens slowly. (Same shot)

28: a: His ears pick up the sound and his head picks up. (Same shot)

29: He quickly turns around and sprints for the door. (Same shot – camera tracks to other side of door to see next change)

Character 06: Back to Original

                Relief/Contempt

30: He comes out as his original self. (maintain wide shot)

31: He is relieved and overjoyed, he hugs himself and feels his face to double check it is him. (Same shot)

                He couldn’t be happier

32: He then confidently walks to the right of screen. (Same shot)

33: a: Before leaving, he looks back at the magical door with a wry smile. (Close up)

                Suggest he has gotten the meaning behind what has happened to himself.

33: Shot through the door looking towards Brando as the door closes slowly while he is walking away.

Summary:

Tomorrow I will present my second drafts during the mentor meeting to get feedback on them. Then hopefully I can get into Maya and begin to block out my entire animation with key poses.

Animatic 01

Animatic 01

Action Beats/Story Beats

The scene starts with the singular character, Brando, appearing in this bare environment that only consists of a door as far as Brando can see. The audience discover things at the same time as the character. Before he was plucked from his life, Brando was walking down the street muttering to himself about his life. He wants better for himself but he is too comfortable where he is so doesn’t take the necessary risks for change. His mutterings consist of how he doesn’t take opportunities that present themselves.

1: Brando starts off in the environment with the magic door.

2: At first he doesn’t quite realise where he is.

3: He has his head down doing head movements like he is giving himself a ‘talking to’.

These are his emotions that he has carried over from the world he has been plucked from. He is not happy with his life and wants change for the better but he doesn’t want to leave his life that is safe.

4: He begins to realise that he is in some strange environment.

                Confusion creeps across his face.

5: Walks towards closed door.

                Confusion turns to curiosity.

6: Examines door, looks around the doorframe to only see the other side of the environment.

7: Opens door and looks confused.

                Slight frustration and some more confusion.

7: b: he makes a move away from the door, not wanting to bother with whatever is happening.

                His face reads of someone who doesn’t want the hassle.

7: c: He physically stops himself then he turns around back towards the door.

7: d: he pauses for a moment, eyes closed, deep breath.

8: Takes a step through the door.

                At this point he has the appearance of “fuck it, let’s see what is going on”.

9: Comes out looking different (Franklin rig).

10: Doesn’t realise at first, he turns around to look at the door once more.

                He is a little disappointed, he worked himself up to expect some special to happen.

11: Looks down the doorframe and suddenly notices his rather large feet.

12: Movements of panic as he feels his face and looks at his hands.

                Horror.

13: Looks back at the door – realisation of what must have happened.

                Desperate emotions as he doesn’t know what to do.

14: In a determined fashion, storms through the door once more.

15: Comes out as a chubby kid.

16: Despair and anguish at the second appearance change.

                Shock. Now he is really desperate.

17: He doesn’t have much hope at this point.

18: He goes back through the door and comes out as Sam (the female).

19: His mood picks up a little as he admires the body but when he tries to walk it fails.

                He is breaking down, he is a woman and he can barely walk with the slim legs/small feet.

                Even more desperation.

20: He hobbles back to the door and walks through.

21: He comes out as a dog.

22: He chases his tail a bit and rolls onto his back.

23: The door closes.

A moment of silence as he looks at the door. His face also silent of emotion. Tongue out panting, wide eyes and bouncing ears is all that is given away.

24: He dashes towards the door and starts scratching at the bottom of it.

                Panic rushes over him.

25: He realises he might be stuck forever.

26: He takes a few steps back and sits with his back to the door and his head down.

                He almost doesn’t know what to do, he has almost accepted his fate.

27: A few moments of him with his back to the door.

28: The door opens suddenly.

28: a: His ears pick up the sound and his head picks up.

29: He quickly turns around and sprints for the door.

30: He comes out as his original self.

31: He is relieved and overjoyed, he hugs himself and feels his face to double check it is him.

                He couldn’t be happier.

32: He then confidently walks to the right of screen.

33: a: Before leaving, he looks back at the magical door with a wry smile.

                Suggest he has gotten the meaning behind what has happened to himself.

33: He goes through another door….to leave speculation that he might have went through another magic door.

Summary:

This is my first animatic but I have got feedback on it from Brian Robinson so I will have a new cut ready for next Tuesday along with revised story beats.

Storyboards

Storyboards

Today I have finished my first draft of my storyboards for my final animation this semester. I have arranged a meeting with my mentor, Brian Robinson, for later today to get feedback on them. While I was talking to him he distinguished that I was using a certain type of method for storyboarding. Essentially there are two main types of storyboarding, one where the storyboard artist can draw up the scene from scratch while simultaneously thinking about the narrative and camera angles and how the camera might move around the scene. The other method is to use storyboards to first flesh out the narrative, once they have been used for this purpose, the storyboard artists then works in camera moves/angles. This second method is the one that I have naturally gone for with my limited drawing.

I have drawn all my storyboards from the same angle, which is also perhaps the main shot for the animation, it allows the audience to see everything clearly. I have not focused on the camera placement in these storyboards as I want to use these storyboards to first nail down the narrative in terms of story and timing. Once the narrative it settled, I can go back and decide where to cut to different camera angles to make certain moments more readable. For instance, there are some scenes that might require a close up of the face to allow the character’s emotions to be read.

Brian also mentioned about writing my experience with my own process with storyboards and to do some reading and get some quotes about this subject.

The History of Storyboards

Early filmmakers didn’t use much camera cuts or camera movements or even editing. They shot their films like a theatre is viewed with usually using wide shots. Storyboards were developed when filmmakers got more serious about storytelling. Storyboards weren’t introduced in the traditional sense until Walt Disney used them in his short animated film called Plane Crazy. (Paez and Jew, 2013)

This was the first use of storyboards to analyse the narrative of a cartoon in the pre-production phase of development.

Storyboards General

There are many things that could be discussed here for storyboards but I’m not going to mention them because they perhaps don’t relate to me as much considering that I am not a storyboard artist.

I will be trying to implement lines of action through the use of camera placement. This will help to create more dynamic shots that give an extra level of depth to my animation. My narrative takes place in the same environment with a single door and doorframe in the middle, so the camera angles will be crucial for adding more depth to the scene since there won’t be anything else really in the environment.

I will also use the rule of thirds as well to create a balance in my shots.

There is a lot about visual literacy in, Professional Storyboarding by Anson Jew, but I won’t have the opportunity to work a lot of it in. Some of these include contrast of shapes, contrast of background and foreground, perspective, depth and design of shapes. These are all important aspects of storyboards but I don’t have the time to do storyboards with this much detail to it. I am going to just use them to firstly nail down my narrative then secondly to get my camera angles working together.

Below are some pictures from this book that I found a good visual representation of key notions of storyboarding.

Paez, S. and Jew, A. (2013) Professional Storyboarding: Rules of thumb. London, United Kingdom: Taylor and Francis.

“Whatever format your storyboard takes, it needs to contain a specific amount of information. First and foremost, it needs to show the drawn frame that represents the scene or that action in a scene that you’re seeking to define.”  (White, 2009) My storyboards essentially will do this.

Filmmaking Techniques

Camera Shots

Wide Shot

“The wide shot is where the camera not only sees the full-figure character, but it also sees a large amount of the background environment.” (White, 2009)

Midshot

“Midshot framing usually features the top half of the character, from around the waist upward, and therefore significantly less of the background environment.” (White, 2009)

Close-Up

“The close-up shot focuses mainly on the character’s face, usually from the neck to just above the top of his or her head.” (White, 2009)

Ultrawide Shot

“The ultrawide shot minimizes the presence of a character (if the character is there at all) in a wide, expansive background environment. This is typical of the large-scale, epic kind of movie because it is wonderful for depicting wide expanses of landscape or big-city shots.” (White, 2009)

Extreme Close-Up

“The extreme close-up shot frames very tightly on a detail from the shot the director especially wants the audience to focus on, such as the face of a wristwatch, a drip coming from a tap, a fly crawling across food, etc.” (White, 2009)

Camera Movements

Locked-Off Shot

“The locked-off shot is the basic shot where the camera is in a fixed position for the selected framing setup with no movement in or out.” (White, 2009)

Track-In/Track-Out Shot

“Often described as a zoom-in/zoom-out shot in live-action filming, the track-in/track-out shot is where the camera moves in or out within a particular framed action. For example, a scene could start with a wide shot and end with a midshot.” (White, 2009)

Pan

“A pan is a shot where the camera moves along a background and reveals more of that background as it travels either horizontally or vertically. An example would be where a camera follows a character along a street, maintaining the same framing shot all the way.” (White, 2009)

Track/Pan

“The track/pan is similar to the pan shot, but the camera moves in and out of its framing position as it moves along. It is sometimes described as a dolly shot in live-action filming.” (White, 2009)

Dolly (Crane) Shot

“The dolly (crane) shot is where the camera rotates around a 360-degress arc, wholly or in part, to reveal more of the character that would be apparent otherwise.

Alternatively, the camera can “crane around” the character or object to reveal more of the background environment that would normally be possible with a more static shot.” (White, 2009)

Zip Pan or Zoom

“The zip pan or zoom shot is effectively a super-fast moving shot, where the camera covers the same amount of ground as it does in a conventional panning shot, but does so in very few frames. Quite often it works better if there is a speed blur added to the image throughout the move.” (White, 2009)

These are all types of camera shots and movements from Tony White.

These are shots I am going to think about during my second cut of storyboards.

I will create a new post of which to put my story beats and animatic on to keep things fresh. I have received feedback on this today and I intend on getting a second cut prepared for next Tuesdays mentor meeting. I will apply the feedback and also implement camera changes to make the narrative read more clearly.

  

References

Paez, S. and Jew, A. (2013) Professional Storyboarding: Rules of thumb. London, United Kingdom: Taylor and Francis.

White, T. (2009) How to make animated films: Tony White’s complete masterclass on the traditional principles of animation. Amsterdam: Elsevier/Focal Press.

Byrne, M. (1999) Animation: The Art of Layout and Storyboarding. Ireland: A Mark T. Byrne Publication.

Hart, J. (2007) The Art of the Storyboard: A Filmmaker’s Introduction. 2^nd edn. Amsterdam: Elsevier/Focal Press.