June 03, 2014
June 02, 2014
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.
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