Initial storyboards were hand-drawn, then scanned and put together in the PS as the sequence of events. This was presented for the weekly review and updated accordingly as per George’s feedback.
– George suggested that story should come to the end of the cycle, with the closing scene, of the character waking up from the dream. This is to justify all the abstractions incorporated into the scene of the animation, such as the character being chased by the swiping left finger, which is dreamlike and not real. So, the scene 12 was copied over to the end.
– Abstraction comes into play while recreating the famous painting of Narcissus. George encouraged me to enhance these aesthetics, such as the body of water surrounding the bed, while the character is looking at his own reflection (scene 13).
– Another suggestion, is to apply a transition to white, between scenes 30 and 31, as the character escapes of the
Previs feedback
Do not overuse camera movement! Each camera movement serves a purpose, this needs to be justified. It’s more than okey to use static shots.
2. Be sure to maintain symmetry when zooming in and out.
The above shot seems clunky, in the way that symmetry vanishes as the camera zooms out, check the image below.
3. POSING: Be more articulated when defining the actions of the character at the specific shots. Character at this point does not need to be animated, however, their poses must clearly articulate what they get up to in the scenes that are presented.
4. RULE OF THIRDS: be sure to use the rule of thirds to justified your composition.
5. Show off your director skills. The camera movement shall be justified. The following shots were proposed, however as suggested by George, theirs no need to cut between these shots. After the character falls through his own reflection on the mobile screen into the underground world, it makes sense to follow that and deliver a camera movement that follow the arc-like trajectory, approaching the camera from the top, and zooming into it, the flower now displayed don’t the phone, which should then be used for the dip black transition to another shot.
Georege pointed that no rotation should be used while zooming, as well as that the phone should be facing in portrait mode, not a landscape.
Maya process
In the PS, I created the transparent png with the rule of third (green) and the red guides for symmetry.
Added this transparent png as per the image plane onto the designated camera.
Adjusted the depth of the image plane, so it’s an the very front.
Use the rule_of_thirds layer as the reference, so it doe not get in the way while clicking on another object within the scene.
Establishing shot: an opening of the scene, to give an audience understanding of the world being presented. It allows the audience to understand how characters are oriented around the scene and how they are related.
Usually a bird-eye view type, extreme wide shot, with the use of the zooming in and out, or panning top to down, or right to left, there’s a variation of the techniques used, often though the effect focuses on revealing the world.
a. Start of the story b. Character changes the space c. The end of the story
180-degree rule
Analysis of establishing shots from examples of the choice.
The Dark Night Roberry
Characters, and their story, Who are the protagonists and antagonists, side characters?
The list of attributes.
Description of the character: bio. What the character does before and after of the story, to help establish what’s the middle ground, part of the story. How do the characters move, act and their mannerism.
Based on the story, the character’s actions can be justified, even if they are or morally accepted. The character has to be presented in a compelling way, within the bio describing what it takes to make them compalling.
Show not tell. Visual communication, through the character acting.
Being deliberate about the choices and going for it, to emphasize as much as possible out of it. Character introduction should be evocative enough to let the audience understand who the character is the first movement of the appearance, what’s the nature of the character.
Camera shot as well as assets and the scene/ environment matters when conveying the mood and the character.
Compellling: evoking interest, attention, or admiration in a powerfully irresistible way. Compassionate: feeling or showing sympathy and concern for others.
Breaking Down the World: The Role of Sets, Props, and Environment in Storytelling
“The process of constraining the world is originally an imaginary one, sometimes associated with a fictional universe.”
When creating the world of a story, every element—from the sets and props to the overall environment—plays a critical role in shaping the narrative. Understanding how these elements influence the shots and storytelling is key to building a cohesive world. Let’s break it down into the core components that will guide the world-building process:
1. History: Understanding the Time and Context of the Story
The history of the world within your story sets the stage for everything that happens. Establishing the time period and understanding what happened before and after your story provides context for the narrative.
What time is your story set in?
What major events have shaped the world?
Consider the impact of things like natural disasters, pandemics, or significant historical events.
Establishing a clear beginning and end will help you develop the middle of the story.
Understanding these elements will help ground your world in reality, even if the world itself is fictional. Contextualizing your story through history gives the narrative emotional depth and relevance.
2. Ecology: The Flora, Fauna, and Environmental Impact
Ecology is about the relationship between living organisms and their environment. In your story, the natural world influences the characters and events.
What flora and fauna exist in this world?
How does nature affect the world?
What is the condition of the environment depicted in the scene?
The key here is to communicate the ecological elements visually—without overwhelming the audience with text or exposition. Visual storytelling is the most effective way to show the impact of nature on the world.
3. Geography: Defining the Location and Culture
Geography refers to the physical location where the story takes place. The environment and location provide context for the narrative and influence everything from architecture to culture.
Where is the story set? Is it in a primitive, developing, or advanced nation?
How does geography influence the architecture, culture, and people’s way of life?
Consider the role of history, religion, and science in shaping the built environment.
How does geography affect urbanization, culture, and daily life?
What influences people’s clothing, mannerisms, and social behaviour?
These factors will affect the choices made for the sets, props, and characters. The way people dress, speak, and move is heavily influenced by the geography and culture of their environment, so understanding this is essential when planning actor choices and character designs.
4. Sets and Props: Modelling the World
The sets and props are the physical manifestation of your world. These elements help signal to the audience what kind of environment they’re in and contribute to the overall atmosphere.
What props and sets will clearly define your world for the audience?
How do they reflect the environment, culture, and time period?
In this phase, you are modelling the world—creating spaces that feel authentic to the narrative. Props should be purposeful, serving as visual cues to support the world-building.
5. Basic Composition in Maya
When creating your world in 3D software like Maya, basic composition becomes critical in translating your ideas from concept to reality. Focus on the arrangement of objects, lighting, and camera angles that help reinforce the themes and tone of your story.
6. Mood board: Visual Inspiration
A mood board serves as a visual reference for the world you’re creating. It helps capture the atmosphere, textures, colour palettes, and design elements that define the aesthetic of the world.
You can gather references from various sites, including those specifically dedicated to visual references, to guide your decisions about the sets, props, and overall design.
This module spans 2 terms, that’s total of 22 weeks and 40 credits.
There are 2 different projects, one for each term. The blog must cover all 22 weeks, including weekly exercises.
Project 1 must be submitted by the end of the first term for formative feedback, and it must be submitted by the hard deadline. Project 1 is focused on previs, and it can later evolve into the Final Major Project (FMP) or become Project 2, depending on the student’s choice.
Project 2 is an artifact or experiment (e.g., creative coding, VR, or physical computing).
A Final Major Project Proposal should outline the work to be carried over the summer.
The showreel is a collection of all the work created during the term.
There will be a Work-in-Progress Show in early February, on the 6th and 7th.
There are 4 weeks of lessons, followed by in-class work and revisions.
Previsualization (previs) is the process of visualizing complex scenes before production or filming begins. It involves rough animation or planning that outlines the full sequence of events. This technique allows animators to take on the role of a director, using key scenes or storyboards to guide the story. Previs ensures that audiences can follow the narrative by providing a clearer sense of what is happening in the scene.
Previsualization in Filmmaking: The Art of Visualizing Complex Scenes Before Production
For example, in the production of Spider-Man, previs was used to establish how much camera movement could be implemented in post-production. This was done to ensure that the final film would be engaging without overwhelming the audience. Previsualization helped determine which camera movements and effects were acceptable and wouldn’t cause distractions.
What is Previsualization?
Previsualization, or previs, is the process of visualizing a scene or idea in 3D before production begins. It’s a crucial tool for directors, allowing them to plan shots, timing, scale, and character movements. Previs can also help identify which shots are most important for storytelling and whether certain actions or movements support the overall narrative. Previs can be thought of a product design, the outline of the donut before gets baked and coated in the icing.
Mise en scène: The Importance of Scene Composition
Mise en scene refers to everything that appears in front of the camera in a scene, including setting, props, lighting, costume, and the positioning of actors. It’s the visual arrangement that helps tell the story.
Here are some key components of mise en scene:
Character Placement: The way characters are positioned in a scene and the areas of the screen they occupy.
Shot Framing: Deciding between tight or loose shots to highlight the emotional tone of the scene.
Blocking and Screen Density: How actors move within the frame and the overall density of the image.
Composition: The use of horizontal, vertical, and directional lines within the frame to direct the viewer’s attention.
Lighting and Color: Setting the mood and ambiance through the manipulation of light and color, such as high-key or low-key lighting, and using high contrast to create dramatic effect.
Breaking the Fourth Wall
In traditional cinema, the “fourth wall” refers to the invisible barrier between the actors and the audience. In some cases, characters break this wall by directly engaging with the audience, creating a more immersive experience. This can be seen in films and TV shows like The Office, where characters occasionally speak directly to the camera, making the viewer feel as though they are part of the scene.
Body Mechanics and Environment for Exploration
The exploration and testing of your idea will involve focusing on body mechanics and the environment. This will help you understand how the characters interact with their surroundings and how to represent movement authentically.
Mise en Scene and Shot Composition
Establishing the right mise en scene is crucial for storytelling. This involves planning the arrangement of elements within the scene—such as the positioning of characters, props, and the environment—to enhance the narrative.
Additionally, the camera angles play a key role in storytelling. You should carefully select camera angles that support the emotion or action in the scene. The composition of each shot is essential, and you’ll want to focus on using established guidelines like the Rule of Thirds and the Golden Ratio.
The Rule of Thirds: This compositional technique divides the frame into a 3×3 grid, creating points of interest at the intersections or along the lines. By placing key elements of the scene along these lines or intersections, you guide the viewer’s eye naturally through the shot, creating a balanced and dynamic composition.
The Golden Ratio: A more advanced compositional guide, the Golden Ratio is a spiral that can be used to create a visually harmonious layout. By positioning key elements along the spiral’s curve or at key points, you can draw attention to specific areas of the frame in a way that feels aesthetically pleasing and balanced.
Hero’s story, Dan Harmon story circle
A protagonist begins at the top must descend figuratively in the story and literally in the circle. At the bottom of the circle, they are at their literal and figurative “low point,” and their rise to success in the end is likewise represented visually on the Story Circle.
1. You A character in their zone of comfort
2. Need wants something
3. Go! so they enter an unfamiliar situation
4. Struggle to which they have to adapt
5. Find in order to get what they want
6. Suffer yet they have to make a sacrifice
7. Return before they return to their familiar situation
8. Change having changed fundamentally
Exercise: Came up with 3 ideas for the previs/story, and set it within the Dan Harmon Circle. Then create story boards with the justification to what type of shots are used, what camera angles, and the layout in the consideration pf rule of thirds and golden ratio.
First Ideas
Character Story: Exploring Mental Health and the Impact of Social Media This concept will focus on telling a sophisticated story about mental health and how social media affects it. The narrative will explore emotional experiences through ambitious transitions that are surreal or metamorphic in nature. The visuals will include thought-provoking imagery to convey emotional responses and the complexities of emotional control in the digital age.
Video Clip for a Chosen Tune: Audiovisual Storytelling This idea will combine music with visual narrative to create a unique audio-visual experience. The chosen song will serve as the audio narrative, guiding the story. The question to explore is: How does this fit within the context of credits/authorship? It could raise interesting points about the relationship between sound and visuals, and how they complement one another in storytelling.
Environmental Clip This concept will focus on exploring the environment as a key storytelling element. The environment will help convey mood, emotion, or even narrative progression, acting as more than just a backdrop.
The Story of Narcissism and Social Media Impact This story will delve into the issue of narcissism and the psychological effects of social media on mental health. It will explore the design choices of figures like Mark Zuckerberg and the comparison to gambling techniques used to drive dopamine-fueled escapism. The concept will also examine the virtual world and the idea of the virtual avatar. The narrative could depict a character growing increasingly obsessed with their own reflection, eventually falling through the screen and becoming consumed by it, symbolizing the dangers of self-obsession and digital validation.
Inspirations
Close up shot, grabbing phone action.
Character comes visit daily an elderly neighbour to take her of groceries, as she is shielding at home during covid outbreak. It’s intensify, that daily routine. So the the scene when he call but cant get trough, there an assumption something is up. When he is out shopping, there’s scene with the ambulance passing bye, which is exaugurated. So at this point audience put puzzles together and think it’s the elderly woman in emergency. So now when the main character runs for life, to go to her door, and finds no response, he is convince that the elderly woman is dead, he panics, he cries.
The way it conveys the feeling of being scared to death for the dark scenario appearing to be truth, is quite something. (2:44-3:12).
The mood changes, it’s definite path of the story, until out of sudden the elderly woman, poke his shoulder form behind, telling him she was out in the clinic for her vaccine. Very clever way of leading the story and building up the suspense.
“In my heart”. I really like the way the colours are used, desaturated reality to depict routine, the daily obstacles, the unconsidered crowds of people, that the cheerful (colourful) character passes bye.
