Storytelling Through Animation

by Wellins, Mike

• ISBN13: 9781584503941
• ISBN10: 1584503947
• Edition: 1st
• Format: Paperback
• Copyright: 2005-01-01
• Publisher: Charles River Media

Summary

As an animator, it's difficult to watch movies or animated films without thinking about the directing quality or technical aspects of the production. But when that movie pulls you in and draws you to the characters and their plights, you really experience the story. As an animator, it's difficult to watch movies or animated films without thinking about the directing quality or technical aspects of the production. But when that movie pulls you in and draws you to the characters and their plights, you really experience the story. Storytelling Through Animation provides an in-depth guide to the process of conceiving, planning, and producing an animated or live action media production. It covers specific information for many forms of visuals, including traditional cel, stop motion, Flash, or 3D CG with a focus on the most critical aspect of any production- the story. The book is written for filmmakers, animators, producers, editors, directors, game creators, and anyone who has the task of telling a story visually. It teaches the principles, real-world techniques, tricks, tips, and creative and visual fundamentals key to great animated storytelling. Using detailed explanations of principles and techniques and a variety of film examples, it guides animators through every step of the production process, and teaches them how to infuse their story and develop emotional connections in every part of the production. It provides systems and checks and balances that can make projects smoother and storytelling better at any level or budget. In addition, it explores all of the concepts and techniques needed for animation, including visual theory, motion, animation techniques, and their live action counterparts, character animation, composition, production, lighting, rendering, editing, and compositing. Finally, the book helps to create critical and realistic critiquing skills for evaluating and creating emotional connections with the audience. After reading this boo

Table of Contents

Acknowledgments	xvii
Foreword	xix
Preface	xxiii
Part I Emotions in Motion	1	(70)
The Illusion of Cinema and Animation	3	(20)
Animation, Extremes, and Abstraction	10	(2)
Interview with Glen Keane	12	(9)
References	21	(2)
The Story	23	(48)
The Nature of Story	24	(1)
The Tools of Story	24	(2)
The Plot	26	(1)
Motivation	27	(5)
Motivations Can Change	31	(1)
The Point	32	(5)
Point of View	33	(4)
Pacing	37	(1)
Structure	37	(3)
Acts and Resolutions	40	(8)
Subplots	41	(1)
Story Arcs	42	(1)
Plot Twists	42	(1)
Exceptions	43	(1)
Narration	44	(1)
Surprise	44	(1)
Repetition	45	(1)
Time	46	(1)
Omnipresence	47	(1)
Drama	48	(1)
Humor	48	(8)
Absurdity	49	(1)
Stupidity and Embarrassment	50	(1)
Misunderstandings and Confusion	50	(1)
Homage and Parody	51	(1)
Breaking the Fourth Wall	52	(4)
Story Elements and Props	56	(1)
Animation in Storytelling	57	(1)
Animation Story Considerations	58	(1)
Characterization	58	(4)
Empathy for a Character	59	(1)
Nonhuman Characterization	59	(2)
Alternate Story Forms and Personal Taste	61	(1)
Tips for Future Projects	62	(1)
Determine the Point of the Story	62	(1)
Deciding on Plots, Points of View, and Subplots	62	(1)
Break the Fourth Wall	62	(1)
Strip Down a Story to Its Basic Components	62	(1)
Reverse Engineer a Story	63	(1)
Interview with Dean Wellins	63	(8)
Part II Visual Storytellingz	71	(112)
Developing the True Critical Eye	73	(20)
Experimentation	74	(1)
Experimental Film	74	(2)
Viewing and Critiquing Animation	76	(1)
The Fine Art of Pushing	77	(1)
Rapid Motion and Motion Blur	77	(4)
Tips for Future Projects	81	(1)
Studying the World Around You	81	(1)
Repetition, Repetition, Repetition	81	(1)
Slow Motion and Frame by Frame	82	(1)
Flopping an Image to Study Balance	82	(1)
Study the Work of the Masters	82	(1)
Interview with Barry Bruce	82	(11)
Directing	93	(28)
Visual Storytelling and Directing	94	(15)
Creating Story Visuals	97	(3)
Pacing and Timing	100	(1)
The Evolved Audience	101	(1)
Symbolism	102	(2)
Diplomat between the Production and the Story	104	(1)
The 30-Second Spot	104	(2)
Idea Farmer	106	(1)
Techniques	107	(2)
Directing for Animation	109	(2)
Exaggeration	110	(1)
Tips for Future Projects	111	(2)
Physics Apply to Editing and Cutting	111	(1)
Be Flexible and Resourceful	111	(1)
Keeping It Moving	112	(1)
Rehearsing	112	(1)
Interview with Director Chris Sanders	113	(8)
Art Direction	121	(26)
Visual Consistency	125	(1)
Creating the Environment	126	(2)
Color	128	(2)
Forced Perspective	130	(3)
Lighting as Visual Textures	133	(2)
Texture Maps and Surfaces	135	(3)
Tips for Future Projects	138	(1)
Don't Get Hung Up on Preconceived Ideas---Be Flexible	138	(1)
How Are the Story and the Art Direction Connected?	138	(1)
How Are the Character Design, Animation Design, and Art Direction Tied to the Scene?	138	(1)
Create a Production Plan from the Animatic	139	(1)
Experiment on Paper	139	(1)
Interview with Paul Harrod	139	(8)
Cinematography	147	(36)
Photography	148	(5)
Black and White	150	(1)
Negative Space	151	(2)
Depth	153	(13)
Using 2D Stylistically	161	(5)
Foreground and Background Elements	166	(1)
Physical Staging	167	(5)
Depth of Field	170	(1)
Light and Dark	171	(1)
Cinematic Props	172	(1)
Shots and Lenses	173	(4)
Camera Movement	177	(3)
Camera as a Character	179	(1)
Camera Shake	180	(1)
Tips for Future Projects	180	(3)
Master the Rules	180	(1)
Establish a Tone or Style	181	(1)
Compose Each Shot	181	(2)
Part III Preproduction	183	(162)
Preplanning and Preproduction	185	(28)
Starting a Project	186	(3)
Planning Character Creation	189	(3)
Planning Before Modeling	190	(2)
Taking Full Advantage of Technology	192	(1)
Why Use Animation?	192	(1)
Very Few Happy Accidents	193	(1)
Frame Counts and Naming Conventions	194	(1)
Handles	195	(1)
Locking a Project	195	(1)
Testing	196	(2)
Internet/Intranet	198	(1)
Aspect Ratios	198	(1)
Reverse Engineering the Story	198	(2)
The Graveyard of Unfinished Films	200	(2)
Working with Affordable Resolution	202	(2)
Tips for Future Projects	204	(9)
Break Down Stories to Basic Elements	204	(1)
Take Good Notes	204	(1)
Break Down Scenes and Shots	204	(2)
Create a Production Plan	206	(7)
Storyboarding	213	(24)
Presentation Boards versus Production Boards	214	(7)
Using Storyboards as a Working Tool	216	(5)
Prepping for Animatics	221	(1)
Storyboards and Photoshop	222	(1)
The Language of Storyboards	223	(10)
Tips for Future Projects	233	(4)
Follow the Rules of Cinematography to Establish a Flow	233	(1)
When in Doubt, Let the Story Decide	233	(1)
Consider Props and Other Objects in Helping Tell the Story	233	(1)
Consider Locations	234	(1)
What Are the Boards For?	234	(1)
Move Quickly	234	(1)
Focus on Clarity	234	(1)
Boards Aren't the Place to Create Characters	234	(1)
Don't Get Hung Up on Pre-Conceived Ideas---Be Flexible	235	(1)
Prep for Animatics	235	(1)
Photoshop and Boards Work Well Together	235	(1)
In the Worst-Case Scenario, Go Back to the Writer	235	(2)
Animatics	237	(22)
Presentation and Testing Animatics	238	(1)
Animatics Beyond Production	239	(1)
Working Production Animatics	239	(19)
Frame Counts	247	(1)
Transitions and Dissolves	247	(2)
Effects in Animatics	249	(2)
Scratch Audio	251	(1)
Animatics and Commercial Advertising	251	(2)
Creating an Animatic	253	(5)
Tips for Future Projects	258	(1)
Don't Get Hung up on Preconceived Ideas---Be Flexible	258	(1)
Move Quickly	258	(1)
Create a Production Plan from the Animatic	258	(1)
Make Pacing and Timing Work in the Animatic	258	(1)
Don't Hesitate to Go Back and Get More Panels to Define Scenes	258	(1)
Sound, Music, and Voice	259	(16)
Sound Effects versus Sound Design	261	(2)
Music	263	(2)
Breaking the Fourth Wall in Music	265	(1)
Sound Layering	265	(2)
Echoes	266	(1)
Sound and Music Flexibility	266	(1)
Under Music	267	(1)
Voice Recording	267	(1)
Scratch Audio	268	(1)
Digital and Analog Logging	268	(2)
Temporary Sounds and Rights	270	(2)
The Final Audio Mix	272	(1)
Tips for Future Projects	272	(3)
Plan Out a Sound Design	272	(1)
Use Simple Ideas	272	(1)
Audition All Sorts of Music and Sounds	273	(1)
Silence or Quiet Pauses	273	(1)
Layer Sound	273	(1)
Go Against the Standard	273	(1)
Experiment	273	(2)
Character Design and Production Design	275	(48)
Stylization	277	(3)
Design	280	(2)
The Face and the Eyes	282	(9)
Visual Clarity in Design	286	(5)
Design Phase	291	(3)
Expression Studies	292	(1)
Model Sheets	293	(1)
Antipleasing	294	(1)
The Challenges of Photo Real	295	(1)
Inspirational Art	296	(1)
2D to 3D	296	(8)
CG Modeling	304	(4)
Stylization that Fits	308	(5)
An Example of Good Visual Planning	309	(4)
Tips for Future Projects	313	(2)
The More Conceptual the Art, the Better	313	(1)
If Working in 3D, the Design Phase Must Include 3D	313	(1)
Push Designs as Far as Possible	314	(1)
The Environment and Visual Consistency	314	(1)
Find Visual Inspiration	314	(1)
The Genius Is in the Details	314	(1)
Interview with Tracy Prescott MacGregor	315	(8)
Lighting	323	(22)
Animation Lighting	324	(2)
Lighting Basics	326	(2)
Diffusion	328	(1)
Breaking up Light	329	(1)
Mood and Environment	329	(2)
Color and Filters	331	(2)
Basic Lighting Scenarios	333	(1)
Interactive Lighting and Animation	334	(1)
Lighting for Digital	334	(1)
Depth of Field and Rack Focus	335	(1)
Taking Advantage of Long Exposures in Stop Motion	336	(1)
Atmosphere, Fog, Radiosity, and Volumetrics	337	(5)
Tips for Future Projects	342	(3)
Treat Lighting Like a Story Device First	342	(1)
Don't Be Afraid of the Dark	342	(1)
Carefully Use Color for Effect	342	(1)
Tests and Experiments	342	(3)
Part IV Production	345	(40)
Animation	347	(10)
Character Animation	348	(2)
Animation	350	(1)
Motion Graphics	351	(1)
Rotoscoping	352	(2)
Tips for Future Projects	354	(3)
Develop Motivated Stylizations	354	(1)
Pure Exploration	354	(2)
Animation as Art	356	(1)
Character Animation	357	(28)
Creating a Living Character	358	(1)
Creating a Performance	358	(2)
The Voice	360	(1)
Physics	360	(3)
Performance and Acting	363	(2)
The Power Tools and Rules of Character Animation	365	(12)
Pose to Pose	366	(1)
Sketching and Drawing	367	(2)
Video Reference	369	(1)
Walk Cycles	370	(1)
Lip Sync/Facial Expression	371	(1)
Hands	372	(3)
Eyes, Lids, and Brows	375	(1)
Mechanical Techniques to Organic Animation	376	(1)
Tips for Future Projects	377	(2)
There Is No Substitute for Animation	377	(1)
Log or Plan the Shot	378	(1)
Preview as Much as Possible	378	(1)
Interview with Andrew Gordon	379	(6)
Part V Postproduction	385	(40)
Editing	387	(10)
Transitions	391	(1)
Logs and Shot Sheets	392	(2)
Tips for Future Projects	394	(3)
Always Make Motivated Cuts	394	(1)
Make It Work in the Animatic First	395	(1)
The Radically Different Versions	395	(1)
Organization Is Key to Editing	395	(2)
Postproduction	397	(14)
Live Action Combined with Animation	400	(1)
Background Plates for CG Characters	401	(2)
Whenever Possible, Use Final Plates and Elements	403	(3)
Shadows	406	(1)
Color Timing and Tape to Tape	406	(2)
Tips for Future Projects	408	(3)
Preplan for Postproduction	408	(1)
Fix It in Post	408	(1)
Avoid Overthinking	409	(1)
Communication	409	(1)
Time and Money versus Artists and Feelings	409	(2)
Tools and Techniques and Modern Animation	411	(14)
Tools	412	(1)
Combining 2D with 3D	412	(1)
Scanner Animation	412	(2)
Digital Stop Motion	414	(1)
Digital Frame Grabbers	414	(1)
QuickTime Professional	415	(1)
Lens Flares	416	(1)
Photoshop and Deep Paint 3D	416	(1)
Animation in the Real World	417	(2)
Animation and Commercial Production	419	(2)
Learn from Animation History	421	(1)
Summary: The Big Ideas	421	(4)
About the CD-ROM	425	(2)
Index	427