IAT100 WEEK 10

Mot ion L i te racy : Trans i t i on ing w i th In ten t ion Par t 1

TODAY ’S AGENDA

¨  Course Status: project 2 grades ¨  Lab Prep: AE Tutor ia ls ¨  Storyboard: Lab Act iv i ty ¨  Princip les of Animat ion Review ¨  Transi t ions Part 1

WEEK 10 READING

http://www.brianlemay.com/Pages/animationschool/storyboarding/storyboarding%20basics.html

HTTP://DJ-DARKVIPER.DEVIANTART.COM/ART/RESCUERS-REVERSE-STORYBOARD-54971694

http://artsyd.blogspot.ca/2009/09/experimental-typography.html

PRINCIPLES OF ANIMATION

¨  Goals of Animat ion ¤  N o t j u s t t h i n g s m o v i n g a r o u n d ¤  C r e a t i n g e n g a g i n g a f f e c t

¨  Guidel ines ¤  R e a l i s t i c m o v e m e n t a d h e r i n g

t o t h e l a w s o f p h y s i c s ¤  E m o t i o n a l t i m i n g & c h a r a c t e r

a p p e a l

STAGING YOUR WORK

I d e a f r o m P ro j e c t 1 :

D i r e c t t h e v i ewe r ’ s a t t e n t i o n t o w h a t i s o f g r e a t e s t i m p o r t a n c e i n a s c e n e

•  A n A c t i o n

•  Pe r s o n a l i t y

•  M o o d

•  V i s u a l H i e r a r c hy

•  D o m i n a n c e Gestalt principle of similarity: our mind creates wholes out of like images. The one that is not moving becomes the focus of the picture, and vice versa.

The person who stands still in the middle of a busy street becomes the focus of the picture.

CORE PRINCIPLES (HOW TO MAKE MOVEMENT INTERESTING)

•  Ant ic ipat ion •  Fol low through •  Slow in and s low out •  Timing •  Squash and St re tch •  Secondary ac t ion (or ac t ion and react ion)

SQUASH & STRETCH I d e a : a n o b j e c t t h a t i s m a d e o f s o f t & f l e x i b l e m a t e r i a l s q u a s h e s a n d s t r e t c h e s P r i n c i p l e : t h e v o l u m e o f t h e s q u a s h e d a n d s t r e t c h e d o b j e c t r e m a i n s c o n s t a n t •  T h i s a c t i o n g i v e s a s e n s e o f

w e i g h t a n d f l e x i b i l i t y t o o b j e c t s •  V o l u m e d o e s n o t c h a n g e w h e n

s q u a s h e d o r s t r e t c h e d •  Changes in size denote distance and perspective

•  S i m p l e o b j e c t s : a b a l l •  C o m p l e x m u s c u l a t u r e : f a c i a l

e x p r e s s i o n

TIMING

Idea: Timing regu la tes the Speed o f Mot ion •  a n o b j e c t o r s c e n e t r a n s i t i o n

•  Phys ica l Timing •  W e i g h t o r S c a l e o f a n O b j e c t •  L a w s o f P h y s i c s ( G r a v i t y, M a s s )

•  Theat r ica l Timing •  M e a n i n g o f a n a c t i o n •  D e t e r m i n i n g e m o t i o n •  P e r s o n a l i t y

ANTICIPATION

Prepares the aud ience fo r an ac t ion •  A n t i c i p a t i o n > A c t i o n > Te r m i n a t i o n •  Makes t he ac t i on seem more rea l i s t i c

•  E x a m p l e s : •  D a n c e r b e n d i n g k n e e s •  C h a r a c t e r l o o k i n g o f f s c r e e n •  Z o o m i n t o a n o b j e c t ( i . e . a c h a r a c t e r i s a b o u t t o

p i c k u p )

•  Lack o f An t i c ipa t ion c rea tes an t i c l imax and surp r i se .

EASE IN/EASE OUT

Natural objects accelerate and decelerate in movement. Characters in animation don’t run into a frame and stop immediately--they decelerate and come to a stop.

FOLLOW THROUGH AND OVERLAPPING ACTION

•  F T: S e p a r a t e p a r t s o f t h e b o d y c o n t i n u e t o m o v e a f t e r t h e b o d y h a s s t o p p e d •  S t o p w a l k i n g , a r m s s t i l l

m o v e •  O A : B o d y p a r t s m o v e a t

d i f f e r e n t s p e e d s •  L e g s w a l k i n g , a r m s s w a y i n g

•  W e i g h t & D r a g : S o m e b o d y p a r t s d r a g b e h i n d t h e i n i t i a t o r

•  T h e M o v i n g H o l d

SECONDARY ACTION

•  Heightens interest and adds real is t ic complexi ty

•  Care fu l o f Con f l i c t •  S h o u l d n o t i n t e r f e r e o r c o m p e t e

•  F a c i a l A n i m a t i o n •  S h o u l d b e b e f o r e o r a f t e r a n a c t i o n - - n o t d u r i n g

ARCS

•  H u m a n a n d a n i m a l m o t i o n m o v e s a l o n g a r c s

•  H i n g e d o r j o i n t e d o b j e c t s m o v e a l o n g a r c s

•  T h r o w n o b j e c t s h a v e a p a r a b o l i c t r a j e c t o r y

EXAGGERATION

A per fec t imi ta t ion o f rea l i ty can look s ta t ic and du l l . Exagge ra t i on •  C r e a t e s c h a r a c t e r •  E n h a n c e s s t o r y -

t e l l i n g

APPEAL

•  L i v e a c t o r s h a v e c h a r i s m a

•  A n i m a t e d c h a r a c t e r s h a v e a p p e a l •  Q u a l i t y •  P o s e W h a t m a k e s y o u r c h a r a c t e r s d i s t i n c t ?

http://studiotenfourscribbles.wordpress.com/2012/04/22/sad-ball/

MOTION LITERACY

¨  Components: ¤  M o t i o n o f o b j e c t s w i t h i n t h e f r a m e ¤  M o t i o n o f t h e f r a m e ( f r a m e m o b i l i t y ) ¤  Tr a n s i t i o n s b e t w e e n s c e n e s

OBJECT MOTION WITHIN THE FRAME

Stephan Nadelman, I Say Fever:  http://vimeo.com/7354877

What can you do with still images in After Effects?

Warning: this is creepy.

MOTION OF TYPE

What can you do with type in After Effects?

This is not creepy. I promise.

http://vimeo.com/33434885

KEY TERMS FOR PROJECT 3 & STORYBOARD ACTIVITY

•  S h o t : t h e l e n g t h o f t i m e b e f o r e a c h a n g e i n f r a m i n g . •  Tr a n s i t i o n : a w a y o f j o i n i n g , c o n n e c t i n g o r l i n k i n g

y o u r s h o t s t o g e t h e r. •  S e q u e n c e : l i n k e d s h o t s t h a t f o r m s c e n e s t h a t f o r m a

n a r r a t i v e a r c .

•  E s t a b l i s h i n g S h o t : i n t r o d u c e s t h e v i e w e r t o t h e n a r r a t i v e ( t i m e , p l a c e , c h a r a c t e r , m o o d , e t c . )

•  C u t s : m o v e m e n t b e t w e e n s c e n e s t h a t t r a n s i t i o n t h e v i e w e r t h r o u g h t h e n a r r a t i v e .

CAMERA MOTION: TRANSITIONS

¨  Fades ¤  F a d e - i n / F a d e - o u t B l a c k o r W h i t e , C r o s s - f a d e

¨  Pans ¤  C h a n g e i n c a m e r a a n g l e t o d i f f e r e n t s u b j e c t s o r s c e n e s

¨  Zooms ¤  C h a n g e i n f o c u s f r o m c l o s e s h o t s t o w i d e s h o t s

o r v i c e - v e r s a

¨  Th ink E legan t S to r y - t e l l i ng : ¨  DON’T OVER DO the ZOOM!

TRANSITIONS: OPTICAL

•  Fade to b lack o r wh i te •  Disso lve / Cross fade

•  O n e i m a g e f a d e s i n a s o n e f a d e s o u t

•  Wipe •  Super impos i t i ons

•  O n e i m a g e d i r e c t l y o n a n o t h e r

TRANSITIONS: THE CUT

Two main types: •  St ra i gh t Cu t : d i r ec t movemen t f r om sub jec t t o

sub jec t •  Opt i ca l Cu t : f ade i n / f ade ou t

Mobi le Framing •  C a m e r a m o v e m e n t a s a w a y o f c h a n g i n g f r a m i n g

w i t h o u t a c u t •  i . e . c a m e r a f o l l o w s a p e r s o n w a l k i n g o r d r i v i n g

MOBILE FRAMING

http://www.happy-pixels.com/2011/07/11/black-cat-crossing/

TRANSITIONS: THE CUT A c u t o r e d i t i s a n i m m e d i a t e t r a n s i t i o n f r o m o n e s h o t t o t h e n e x t . Yo u w i l l n e e d t o c o n s i d e r h o w t o m a k e c u t s f l o w v i s u a l l y f r o m o n e s h o t t o t h e n e x t . U s e : ¨  G r a p h i c a l M a t c h – c o n n e c t t w o s e p a r a t e i m a g e s ¨  J u m p C u t – d r o p f r a m e s t o c r e a t e a d i s j o i n t e d

e f f e c t . ¨  M o n t a g e – s e r i e s o f i m a g e s t o c r e a t e s y m b o l i c

m e a n i n g . ¨  E d i t o n a c t i o n – c u t o n t h e m o v e m e n t o f a n

o b j e c t .

EXAMPLES

¨  Jump Cuts, Match Cuts & Cutaways ¨  Match Cuts ¨  http: / /v imeo.com/15614870 ¨  180 Degree Rule ¨  Ken Burns – Jazz Intro

SEQUENCE

¨  Two approaches: ¤  C l a s s i c a p p r o a c h t o e d i t i n g :

n  E s t a b l i s h l o c a t i o n a n d c h a r a c t e r s a n d t h e n g i v e d e t a i l s

n  E x a m p l e : K e n B u r n s J a z z I n t r o ¤  C o n t e m p o r a r y a p p r o a c h t o e d i t i n g :

n  B u i l d s p a c e o u t o f a s e r i e s o f c l o s e - u p s n  M o r e i n t e n s e , w e l l s u i t e d t o s m a l l s c a l e

p r o j e c t s . n  E x a m p l e : D e x t e r I n t r o

CONTEMPORARY

http://www.youtube.com/watch?v=ej8-Rqo-VT4

Note the use of graphic or match cuts.

MOTION LITERACY

¨  Components: ¤  M o t i o n o f o b j e c t s w i t h i n t h e f r a m e ¤  M o t i o n o f t h e f r a m e ( f r a m e m o b i l i t y ) ¤  Tr a n s i t i o n s b e t w e e n s c e n e s

MOBILE FRAMING

http://bryanheisey.com/blog/?p=1

FRAME MOBILITY

¨  Pann ing / wh ip pan ¤  M i m i c s t h e e y e l o o k i n g a r o u n d

¨  Ti l t ing ¤  H o r i z o n t a l c a n e m p h a s i s h e i g h t ¤  D o w n w a r d , s l o w r e v e a l

¨  Track ing : fo rward , backward , d iagona l l y, c i rcu la r s ide- to -s ide ¤  B u i l d a n t i c i p a t i o n a s i t r e v e a l s o f f s c r e e n s p a c e ¤  C r e a t e c o n t i n u o u s s p a c e ( i n s t e a d o f t r a n s i t i o n s o r c u t s ) .

¨  N o t e t h e u s e o f p a n a n d z o o m

¨  T h e u s e o f P a r a l l a x : a t e c h n i q u e i n c o m p u t e r g r a p h i c s , w h e r e i n b a c k g r o u n d i m a g e s m o v e b y t h e c a m e r a s l o w e r t h a n f o r e g r o u n d i m a g e s , c r e a t i n g a n i l l u s i o n o f d e p t h i n a 2 D

¨  T h e u s e o f t e x t b u b b l e s

http://vimeo.com/12751865 I am Legend--Shelter

MOTION LITERACY

¨  Components: ¤  M o t i o n o f o b j e c t s w i t h i n t h e f r a m e ¤  M o t i o n o f t h e f r a m e ( f r a m e m o b i l i t y ) ¤  Tr a n s i t i o n s b e t w e e n s c e n e s

SCENES & TRANSITIONS

¨  T h e s h o t i n A E i s t h e l e n g t h o f t i m e b e f o r e a c h a n g e i n f r a m i n g .

¨  Tr a n s i t i o n i s a w a y o f j o i n i n g o r l i n k i n g y o u r s h o t s t o g e t h e r.

¨  Tw o m a i n t y p e s o f t r a n s i t i o n s : o p t i c a l o r c u t ( c u t i s t h e m o s t c o m m o n )

¨  M o b i l e F r a m i n g , w a y o f c h a n g i n g f r a m i n g w i t h o u t a c u t ( s e q u e n c e s h o t ) .

TRANSITIONS: THE CUT

A cut or edi t is an immediate t ransi t ion f rom one shot to the next . You wi l l need to consider how to make cuts f low v isual ly f rom one shot to the next .

WALTER MURCH: WHY WE CUT 6 m a i n c r i t e r i a f o r e v a l u a t i n g a c u t o r d e c i d i n g w h e r e t o c u t . To p 4 o r d e r o f i m p o r t a n c e :

E m o t i o n ( 5 1 % ) — R e f l e c t s w h a t t h e e d i t o r b e l i e v e s t h e a u d i e n c e s h o u l d b e f e e l i n g a t t h a t m o m e n t . S t o r y ( 2 3 % ) — A d v a n c e s t h e s t o r y. R h y t h m ( 1 0 % ) — O c c u r s a t a m o m e n t t h a t i s r h y t h m i c a l l y i n t e r e s t i n g & ' r i g h t . ’ E y e - t r a c e ( 7 % ) — P a y s r e s p e c t t o t h e l o c a t i o n & m o v e m e n t o f t h e v i e w e r ' s f o c u s o f i n t e r e s t w i t h i n t h e f r a m e .

EDWARD DMYTRYK’S RULES OF THE CUT

N e v e r m a k e a c u t w i t h o u t a p o s i t i v e r e a s o n •  M e a n i n g , p r o g r e s s i o n , f l o w •  A c u t s h o u l d m o v e t h e s t o r y f o r w a r d

W h e n e v e r p o s s i b l e c u t ‘ i n m o v e m e n t ’ •  M a n g e t s o u t o f c a r / w a l k i n g / a r r i v e s a t p a r k i n g

m e t e r

C u t f o r s u b s t a n c e f i r s t — t h e n f o r m •  Tr a n s i t i o n i s p u r p o s e f u l c o n t e x t & c o n t e n t

STORYBOARD: EDITING ON ACTION

¨  Shot-by-shot pg. 154- 155

¨  Cutting on Movement

Exits and Entrances Clearing the frame Same principle shot many times for different editing possibilities.

IAT 100 LECTURE 10

f in

Widescreen Test Pattern (16:9)

Aspect Ratio Test

(Should appear circular)

16x9

4x3