Visual Storytelling: A Crash-Course Crash-Course in Filmmaking Filmmaking and Storyboard Storyboarding ing
ART/CSC/FST ART/C SC/FST 320: 320: Compute Computerr Animation Animation
E. Patterson Patterson
“I think one of the biggest problems that we have in our business is the inability of people to visualize... The visual, to me, is a vital element in this work. I don’t think it is studied enough” -- Alfred Hitchcock
All about directing attention!
Montage
Mise-en-scène
The Cabinet of Dr. Caligari (1920) Wiene
Lev Kuleshov’s experiment.
Setting
Mise-en-scène
Decor Staging/Blocking (planar, depth, multi) Framing Composition Lighting Focus/Depth-of-field Camera Movement
Transitions: cut, dissolve, fade Rhythmic pace of shots Temporal relationship Kuleshov effect Graphic relationship of frames Parallel action Continuity Cut on the action Establishing shot Master shot Reaction shot Shot/Reverse-Shot/Framing-distance POVs, Cutaways/Inserts Match Cuts Jump Cuts Bridging sound
Montage
It’s also about perception -- using “film grammar” with the tools of mise-en-scène and montage to construct time and space for the audience. Some spatial tools: “the line” -- 180-degree rule eye-lines and eye-line matches screen direction 30-degree rule/jump cuts
eye-lines and eye-line matches
Amélie (2001) Jeunet
screen direction
“the line” 180-degree rule
jump cuts
Breathless (1960) Godard
Composition is all about directing the viewer attention to key realizations, decisions, and storytelling objects.
composition Visual mediums have a long history: drawing, painting, photography, comics, animation, and film use similar tools. Seek inspiration in these.
staging (planar & depth) positive/negative space contrast
color versus black-and-white symmetry, asymmetry, balance, series, random
value
framing devices: shapes such as circles, squares, arcs
texture
rule of thirds, rule of fifths
depth cues: scale, overlap, form, perspective
diagonal or other lines in frame to direct attention
focus and depth-of-field
proxemics, distance, height, angle of camera
composition
Famous Artist’s Course
composition
composition
basics of camera/lens movement
pan
swish pan
tilt
steadi-cam
(roll)
motion control
dolly/track/truck
rack focus
jib/crane
zoom
hand-held
zolly
basic shot terminology
extreme close-up (ECU) close-up (CU) medium shot (MS) American / Hollywood (knees up) Full Long Shot (LS) Wide shot (WS) single two shot insert
high-angle low-angle aerial/bird’s-eye worm’s eye high hat 3/4 shot profile frontal over the shoulder (OTS) canted/dutch
storyboarding Using the tools of filmmaking discussed, tell the story in a series of frames that use primarily composition and sequence to reveal the narrative elements as mise-en-scène and montage will in the final film.
Directing the Story: Professional Storytelling and Storyboarding Techniques for Live Action and Animation by Francis Glebas
Create each board to be visually specific for a shot.
• scale (frame to object) • angle (camera and object) • camera movement • blocking of character, vehicles, etc. • (possibly contrast/lighting cues) • all of the previous filmmaking ideas
Useful tools for drawing.
• 1, 2, and 3-pt perspective. • Scale, overlap, foreshortening. • Using basic shapes in perspective. • Human proportions. • Gestures first. • Build volumes using scale, overlap, and lines. before shading for form.
one-point perspective
Use for looking straight into rooms or straight at buildings. Choose the horizon line. Horiz/vert stay; other lines “vanish.”
two-point perspective
Use for viewing from an angle.
three-point perspective
Extension of two-point for more extreme angles.
gestures: pose and action come first with simple lines
... then build form over gesture using scale, overlap, shape, shading
human proportions
Andrew Loomis
facial proportions
Resources • Begleiter, M., From Word to Image: Storyboarding and the Filmmaking Process, Michael Wiese, 2001.
• Vineyard, J. and Cruz, J., Setting Up Your Shots: Great Moves Every Filmmaker Should Know , Michael Wiese, 1999.
• Directing the Story: Professional Storytelling and Storyboarding Techniques for Live Action and Animation by Francis Glebas, Focal Press.
• Thomas, F. and Johnston, O, The Illusgcc • ion of Life: Disney Animation, Walt Disney Productions, 1981. • Lee, S. and Buschema, J., How to Draw Comics the Marvel Way, Fireside, 1984.
• Simblet, S., Anatomy for the Artist , Doring Kindersley, 2001.