Notes from The Art of Storyboarding: Difference between revisions
Jump to navigation
Jump to search
(Created page with "Category:Storyboarding Category:Animation == Overview == Instructor: David Chlystek == Introductory videos == [https://www.youtube.com/watch?v=Q2UHbLUxn20 “How Yo...") |
|||
| Line 6: | Line 6: | ||
== Introductory videos == | == Introductory videos == | ||
{{#evu:https://www.youtube.com/watch?v=EOI0wDqc5Bg | |||
|dimensions=480 | |||
|description=How You Pitch For a Movie at Pixar (From Monsters’ University) | |||
|autoresize=true | |||
}} | |||
Takeaway: It’s necessary to generate ''emotion''; the audience has to ''feel something.'' | Takeaway: It’s necessary to generate ''emotion''; the audience has to ''feel something.'' | ||
{{#evu:https://youtu.be/hGw2xU5nN3I | |||
|dimensions=480 | |||
|description=“Intro to Storyboarding”—Rocketjump Film School | |||
|autoresize=true | |||
}} | |||
=== Assignment === | === Assignment === | ||
Revision as of 18:52, 19 February 2018
Overview
Instructor: David Chlystek
Introductory videos
Takeaway: It’s necessary to generate emotion; the audience has to feel something.
VideoService "youtu" not recognized.
Assignment
Break down a scene from a favorite movie. (Badlands)
Composition
Negative space around characters draws attention. (TODO: insert illustration)
Eye Trace—thinking about where the eye moves from scene to scene—don’t jump around.
Public vs private compositions suggest the audience’s relationship with what is in the frame.
Frame within frame creates unease or tension by boxing in the characters within the frame.
Think of ways to convey emotion without relying on cutting from characters speaking dialog.
The “5 C’s” of cinemaphotography
- Camera Angles
Upshot, downshot, wide, close, etc. “Dutch tilt,” i.e. camera tilted relative to horizon - Continuity i.e. “hook ups”
- Cutting i.e. editing
- Composition
- Close-Ups
“The Fine Art of Blocking and Composition”—Dan Fox, YouTube