May 30, 2014
Peter Pan - Composition Analysis
Jinny Hinkle does a nice little essay on the staging and composition of Disney's 1953 film 'Peter Pan'.
Re-blogged from this Original Post.
1. Nice use of framing here with the door and values. The subtle rhythm of the wallpaper pattern drags us down to the baseboard, which then takes us straight to Wendy's shadow. The focus is definitely on Wendy, who's talking to her mother.
2. A direct spotlight here on Mr. Darling. He's also got the greatest area of contrast from. You really don't stray away from him for very long.
3. Lots of lines of movement to lead you straight to Mr. Darling's face. Once again, he's the greatest area of contrast, so it's not hard to go to the focus.
4. The ol' Rule of Thirds comes into play, with a sweet spot on Wendy's face. Also, thanks to the rhythmic lines in the layout, our eyes flow right into position.
5. Rule of Thirds strikes again! Wendy is in the greatest area of contrast, but there's a sweet spot right on the face of Mrs. Darling's shadow, so our eyes visit both places.
6. Peter is perfectly framed here, with the moon behind his silhouette, and the house coming in around him. Once again, the greatest area of contrast.
7. Same situation here, the moon frames the characters, creating a focal point.
8. Great use of balance in this frame. Peter is completely involved with the toy chest while he's looking for his shadow, so there's no use for extra information in the other half of the frame.
9. Wendy's hand and Peter's hand are both situated right on two of the sweet spots, and with Peter framed by the window, and Wendy framed by the value contrast, it's easy to focus on them. You start at Wendy, since she has the contrast here, and then your eyes follow her lines up through her arm to Peter's, and then on his face.
10. Here we have Big Ben, framed against the night sky and also by the clouds. The spires and statue in the bottom of the frame lead our eyes up to the clock face, where Peter, Wendy, and her brothers are heading.
11. Another one with pure balance. Hook is also framed by the sky and back of the ship. Thanks to his dark hair, there's a lot of contrast to lead us into his face.
12. Smee is the framed character here, with the ropes and trees in the BG surrounding him. All of the lines on hook lead us into Smee's face. If you notice, Smee is the brightest thing in the frame.
Re-blogged from this Original Post.
2. A direct spotlight here on Mr. Darling. He's also got the greatest area of contrast from. You really don't stray away from him for very long.
3. Lots of lines of movement to lead you straight to Mr. Darling's face. Once again, he's the greatest area of contrast, so it's not hard to go to the focus.
6. Peter is perfectly framed here, with the moon behind his silhouette, and the house coming in around him. Once again, the greatest area of contrast.
7. Same situation here, the moon frames the characters, creating a focal point.
8. Great use of balance in this frame. Peter is completely involved with the toy chest while he's looking for his shadow, so there's no use for extra information in the other half of the frame.
10. Here we have Big Ben, framed against the night sky and also by the clouds. The spires and statue in the bottom of the frame lead our eyes up to the clock face, where Peter, Wendy, and her brothers are heading.
11. Another one with pure balance. Hook is also framed by the sky and back of the ship. Thanks to his dark hair, there's a lot of contrast to lead us into his face.
Storyboarding for Animation - by Steven MacLeod
Storyboarding for animation from CGMasterAcademy on Vimeo.
This is an introduction course where you will learn some techniques for visual storytelling. It will cover methods and exercises to help you generate ideas and learn tips and tricks used in story boarding. The assignments will help you build a starter portfolio for story boarding and equip with the basics for creating your own stories
May 29, 2014
May 28, 2014
May 27, 2014
Star Wars Storyboards from The Original Trilogy
Some how I had forgotten about the incredible draftsmanship of Joe Johnston, he's a fantastic draftsman and designer. The book doesn't have every sequence in the films in it because not all portions of the films were storyboarded, only the sequences with heavy action or were special effects driven shots. But there are sequences that were storyboarded but never filmed which is an added treat to see in this book.
Over 340 phenomenal pages dedicated to all three original films - I highly recommend it.
See Parkablogs nice review of the book here.
May 26, 2014
"Aug(De)Mented Reality" by Marty Cooper
Using a unique animation technique involving traditional animation cels and his iPhone 5s.
May 23, 2014
May 21, 2014
May 19, 2014
May 18, 2014
May 17, 2014
Yellow Sticky Notes - Anijam
Directed, edited and produced by Jeff Chiba Stearns
Anijam mentor: Marv Newland
Participating animators: Paul Driessen, Cordell Barker, Lillian Chan, Malcolm Sutherland, Alison Snowden, David Fine, Chris Hinton, Jeff Chiba Stearns, Marv Newland, Louise Johnson, Joel Mackenzie, Jody Kramer, Jonathan Ng, Howie Shia, Janet Perlman
Music: Genevieve Vincent
Additional piano: Yuma Sung
Sound: Raphael Choi
An ‘Anijam’ is a collaborative animation where various artists create individual short animated segments that are linked together to make one larger film. For the first time in Canadian history, 15 of Canada’s most acclaimed independent animators have come together to create a collaborative animated film. Yellow Sticky Notes: Canadian Anijam is an innovative and global approach to animation filmmaking and unites animators from coast to coast, from Vancouver to Halifax and all parts in between, to self reflect on one day of their lives using only 4×6 inch yellow sticky notes, a black pen and animation meditation.
Each of the animators created their sequence without knowing what the other participants were creating. Starting with a ‘to do’ list written on the day of a memorable event, the animators transitioned from text to imagery by utilizing ‘animation meditation’ to create a visually animated poem representing how their lives were affected by that pivotal day. In the end, the thousands of sticky note drawings are linked together to create a dynamic and inspirational animated film that connects the human spirit while celebrating individual artistic expression with the goal of inspiring future generations of animators. For more information, visit YellowStickyNotesAnijam.com.
May 16, 2014
May 15, 2014
‘The Kings Of Siam’ by Ged Haney
CREDITS
Conceived, animated and directed by Ged Haney
Additional sequences animated by Emma Calder
Additional animation by Lesley Bushell
Words and music by Ged Haney
Performed by Clive Bell, Sylvia Hallett, Stuart Jones, Matt Moffatt
Produced for Channel 4 Television, 1992.
May 12, 2014
May 09, 2014
May 08, 2014
May 06, 2014
Teen Titans Go - Storyboards
Director Scott O'Brien:
Story artists were Andrew Dickman, Erik Knutson, Howie Perry, and me (just a tiny bit).
If you're familiar with the episode that aired, you'll notice several differences here:
First, Warner Bros felt we weren't treating the Batcave as if it were a big enough deal, so that got changed for the final quite a bit. Secondly, they didn't like the 60's Batman gags (which both Erik and Andrew ingeniously put in). "It's old. It's been done," they said.
Oooohhh... but I strongly disagree.
You can never have enough 60's Batman.
May 03, 2014
May 01, 2014
"The Illusion of Life" by Cento Lodigiani
An animated diagram of the principles of animation, as outlined in the book by Frank Thomas and Ollie Johnston.
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