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 • Gestalt principle of similarity: our mind creates wholes out of like images. The one that • D o m i n a n c e 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 • o 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 What can you do with still images in After Effects? Warning: this is creepy. Stephan Nadelman, I Say Fever: http://vimeo.com/7354877

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

TRANSITIONS: OPTICAL • Fade to black or white • Dissolve / Crossfade • One image fades in as one 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 o 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 Note the use of graphic or match cuts. http://www.youtube.com/watch?v=ej8-Rqo-VT4

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 ) .