WOW! FloobyNooby has just posted a very detailed and extensive breakdown from Pixar’s Incredibles of “ how the relationships of all the visual elements on. Apr 25, Flooby Nooby: The Cinematography of “The Incredibles” Part 3. Oct 9, Flooby Nooby: The Cinematography of “The Incredibles” Part 2.
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One of the best bits of advice I ever received was, “stage a scene based on the widest action.
This allows for nice negative shapes around the characters, and allows you to draw the key players and props with easily-readable silhouettes. The Pose When posing characters in your storyboard panels, two main aspects must always be considered: Silhouette – The overall shape of a pose, which should read clearly even when the pose is blacked in without its internal details.
Line of Action – This helps your poses “read”. It makes them clear and understandable and gives them a distinct non-ambiguous direction.
This occurs when different elements of the body are at the same angles – See figure A. To remedy this, try to place variety in these angles – figure B. Both within the character’s pose and the angles betwen different characters on screen as well. The Line of Action The position and posture of the characters in the scene can greatly effect the staging and composition, in addition, it can help to place the characters within the situation, making them part of their environment and the story.
Some ways to strengthen the pose of the character is to create a nice silhouette, this is the overall shape of a pose. This shape should read clearly even if the pose were filled in black you would still be able to tell what the character is doing. Another method is to create a strong line of action through your character. This helps your poses “read”, it makes them clear and understandable and gives them a distinct non-ambiguous direction.
This is an important factor in storyboarding – characters should rarely be standing straight up and down.
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No one in real life does it mooby, even army kids don’t stand completely up and down, their backs are slightly arched. Another important part floobu drawing any character is to observe what real people do and how they use thier bodies to act out certains emotions.
Watching the Simpsons is a good reference point because it’s all about real life acting. You wouldn’t think it but Homer moves more like a real human than you think. Most people jump into the details too quickly.
Flooby Nooby: Disney’s Atlantis – Concept Art
They want to get the facial expression and details of the face before establishing the body. Fill up some pages of thumbnail sketches portraying as many expressions as possible. The body language should always come first, the face just backs it up.
The one thing that will always bring your drawings to life is the ‘line of action’ or the imaginary line that dictates how the body will move. You can also think of it as the back bone nolby a character. This line should always be used in setting up a pose, as you can see in the pic below, I get a wide range of emotions with no faces using only their bodies. When all else fails, get up and see how your body bends and shapes when trying to act out emotions.
Most storyboard artists and animators follow this method as a basic principle for planning out the acting and motion of the animated characters – their attitude and behaviors become expressed through their physical body. Body booby and posture can add enormously to the mood, expression, and context of your character.
Check out the poses of these characters and notice how well the action line, postures, and gestures harmonize with the facial expressions: One character causing the action, the other character s react or follow the action.
By using Opposing Poses like in some of the examples shown below, you can have characters curved or directed on an arc, other characters have straighter poses, but still aimed on an angle.
This kind of dynamic posing sure beats the hell out of characters standing straight up and down all the time. Screen captures from Mickey’s Christmas Carol – study the lines of action and how they affect the composition: No one explains it better than Preston Blair: Look at these thumbnails by David Gemmill, observe the dynamic poses and silouettes he creates within each drawing. The Close-Up When the emotion or the reaction of the character is especially importantit’s time to cut to a close-up.
A close-up can best be defined as a head-and-shoulders shot There’s no real room for the character to move, so the audience can focus on the expressions and emotions of the characters. The way characters act and react is always very important to understanding the story. A common mistake of less experienced storyboard artists is framing their shots too tightly.
Even a close-up should have a bit of breathing roomunless it is the rare occasion of an extreme close-up. This also has to do with pacing If a storyboard artist were to fill their board from start to finish with lots of crazy angles, fancy camera moves and extreme close-ups, it would leave no room for the artist to show any real impact when it’s really needed.
It’s all about contrast. That may mean that the shot is very wide — for example: If I’m trying to show a guy sitting in a restaurant drinking a cup of coffee, I would want the framing to include just the guy, the table, and the cup of coffee. It’s all about how important the specific action is to a scene. If the man at the coffee shop is putting a couple of creams in his coffee, there is no need to make a special emphasis on that action; so I would not cut in closer on him pouring in the cream.
Factors to always remember when you are first planning your shots: Subject Placement To hold the attention of the viewer, give your pictures a bold and dramatic arrangement. Avoid putting your subject directly in the center of the picture unless you are striving for a formal arrangement in which the subject firmly commands attention.
Move it from the middle: One of the most common mistakes of amateur photographers is placing the subject smack dab in the middle of the frame. This makes a picture more static and less interesting. That’s why one of the most popular guidelines in photography, painting and cinematography is the Rule of Thirds. Imagine a tic-tac-toe board over your viewfinder and position the subject along one of the lines or at one of the intersections. If your subject fills most of the frame, position a focal point at one of the intersections.
With landscapes, keep the horizon along the lower third to give a feeling of spaciousness. Position the horizon along the upper third to give a feeling of nearness or intimacy.
Lines That Lead Lines are everywhere around us. In people, trees, walls, shadows-you just have to look for them. These natural lines can strengthen composition by leading the viewer’s eyes toward your subject. Diagonal lines can add energy. Curved lines can add soft elegance. Using a road or path as a leading line can add depth. Interest at the point of convergence is the purpose, experiment with the positioning of your subject and your point of view to create a center of focus.
In simple terms, the Rules of Thirds states that there are certain “hotspots” – areas of intensity that exist within any given image, and nnooby one were to align the subject within the range of influence of these hotspots, it will make for a more energetic and interesting composition. The image above illustrates the rule; the 4 “hotspots” where the red lines intersect, and where Morgan Freeman stands. The intensity of the shot is further increased by a small depth of view and the dynamic, diagonal lines that the fluroscent lights form.
Director David Fincher’s Se7en shot by the brilliant cinematographer Darius Khondji, who also worked on The City of Lost Children, Alien Resurrection, Panic Room, vlooby many more is an excellent film to illustrate The Rule of Thirds because of the huge number of still shots that was used in the film.
Composition played an enormously important role here in creating tension and interest in the shots when the camera was locked down. Gwyneth Paltrow lit by a soft rim light and composed within the hotspots. Her frame is supported by the various vertical lines formed by the 2 pillars and the windows in the background. Brad Pitt framed within the intersecting lines, his pose furthered strengthened by the energetic vertical and horizontal lines formed by his posture.
If chance permits, take a closer look at the film and you will discover that the Rules of Thirds is used again, again and again throughout the entire movie:. Hundreds of other films floobby television series have been using this principle for decades, always watch for the subject placement in the frame. Of course, I’m not suggesting that if one should start applying the rule that he or she will instantaneous achieve breathtaking, beautiful results; as always it is a case of careful observation as well as a combination noiby other equally important ingredients like lighting, colour, framing, perspective, space, balance, depth, and leading lines that truly bring out the full effect, no doubt what David Fincher and Darius Khondji did this when shooting Se7en.
You can still see the big shapes dominating the compositions, and flooyb details being subservient to them through many levels. Frank Frazetta has beautiful intricate details in his work, but his images also are stunning simple compositions. The whole image is a design. He became a master at composition and hierarchy – so much so that his work is almost a caricature of artistic control.
Everything in his images fits so perfectly together that it’s almost unnatural – even though he is using guidance from a great observation of nature.
The differences between Frazetta and good animation cartoonists are in individual skill and style, not so much in fundamentals. Frazetta can draw much better than most cartoonists or anybody else.
He also can control more levels of complex detail, and difficult elaborate structures – like anatomy. Every character is drawn with a specific expression that reveals their characterand advances the story. Once you’ve determined and drawn out the ‘content’ of your shot; the angle, the framing, the placement of all things – make a quick check for three things that will help the quality of your posing and positioning of your characters: Spacing – Gesture – Construction When glooby your shots, remember the fundamentals of composition: The purpose of all composition in comics, storyboarding, graphic design, illustration, or filmmaking is to achieve clarity in the visual layout and presentation of the static flopby moving image.
Great commercials are made with a ton of economy, discipline and smart choices. Also, many times they start in a very familiar situation so that the audience gets oriented quickly and knows exactly where we are I boiled story down to three “C’s”.
This one is particularly important for a storyboard artist in the process of visualizing a script or idea because you are working within a very small box, in both the length of your film and your “production schedule”. When making a short film clarity is of the utmost importance because you don’t have time to explain a lot. If you’re trying to make a film about an flpoby planet where all the rules are different from Earth, by the time you’ve acclimated the viewer to your world and explained all the rules, your film is over.
So I floooby suggest that short film directors look at TV flooyb for inspiration as how to tell a thirty-second story clearly and effeciently.
Clarity is tougher than most people realize I think, even professional storyboard artists and film directors have a hard time with this. It’s easy, rlooby you’ve thought through your noobt, to think that your drawings are explaining what’s inside your head, but the viewer doesn’t have the benefit of hearing your thoughts. The drawings and eventually, the animation have to carry it all.