IAT100 WEEK 10 Motion Literacy: Transitioning with Intention Part - - PowerPoint PPT Presentation

IAT100 WEEK 10

Motion Literacy: Transitioning with Intention Part 1

TODAY’S AGENDA

¨ Course Status: project 2 grades ¨ Lab Prep: AE Tutorials ¨ Storyboard: Lab Activity ¨ Principles of Animation Review ¨ Transitions 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 Animation

¤ 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 ff e c t

¨ Guidelines

¤ 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 ro 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
• Personality
• M o o d
• Vi sua 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)

• Anticipation
• Follow through
• Slow in and slow out
• Timing
• Squash and Stretch
• Secondary action (or action and reaction)

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 regulates the Speed of Motion

• 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
• Physical 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 )
• Theatrical 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 audience for an action

• 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 the action seem more realistic
• 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 ff 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 of Anticipation creates anticlimax and

surprise.

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 realistic

complexity

• Careful of Conflict
• 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
• Facial Animation
• 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
• b j e c t s m o v e a l o n g

a r c s

• Thrown objects

h a v e a p a r a b o l i c trajectory

EXAGGERATION

A perfect imitation of reality can look static and dull.

Exaggeration

• 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

• Quality
• P o s e

What makes your 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 within the frame ¤ M o t i o n o f t h e frame ( f r a m e m o b i l i t y ) ¤ Tra n si ti o n s b e tw e e n sce 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

• r v i c e - v e r s a

¨ Think Elegant Story-telling: ¨ DON’T OVER DO the ZOOM!

TRANSITIONS: OPTICAL

• Fade to black or white
• Dissolve / Crossfade
• One image fades in as
• ne fades out
• Wipe
• Superimpositions
• One image directly on

another

TRANSITIONS: THE CUT

Two main types:

• Straight Cut: direct movement from subject to

subject

• Optical Cut: fade in/fade out

Mobile 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 ff 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

• b j e c t .

EXAMPLES

¨ Jump Cuts, Match Cuts & Cutaways ¨ Match Cuts ¨ http://vimeo.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 je 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 frame (frame mobility) ¤ Tra n si ti o n s b e tw e e n sce n e s

MOBILE FRAMING

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

FRAME MOBILITY

¨ Panning / whip 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

¨ Tilting

¤ 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

¨ Tracking: forward, backward, diagonally,

circular side-to-side

¤ 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 je 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 ) ¤ Tra n si ti o n s between scenes

SCENES & TRANSITIONS

¨ The shot in AE is the length of time before a

c h a n g e i n f r a m i n g .

¨ Tra n si ti o n i s a w a y o f j o i n i n g o r l i n ki n g yo u r sh o ts

together.

¨ Tw o ma i n typ e s o f tra n si ti o n s: o p ti ca l o r cu t (cu t i s

the most common)

¨ M o bi 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 edit is an immediate transition from one shot to the next. You will need to consider how to make cuts flow visually from 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 to cut. Top 4 order of importance:

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

• 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

Whenever possible cut ‘in movement’

• 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 fin

Widescreen Test Pattern (16:9)

Aspect Ratio Test

(Should appear circular)

16x9 4x3