The morning session with Alec had been an recap what we learned the years before which involved the 3D previs which is the previsualisation of creating a scene like a 2D animatic but in 3D. For we have to keep things simple for the narrative, consider the music/sound used, use free rigs, considering camera focal length, visual contrast and after effects for editing.

We had learnt more with camera movements with the virtual cameras which move like real cameras but can’t at the same time. So try to keep things based on the real world by studying cameras and editing references to experiment and to have fun. So we must remember the types of lenses we use and camera movements and angles. For the morning, Alex gave us a folder on creating a previs for ourselves with the chase scene happening between the two on maya which was fun. 

Sarah took over the afternoon class recapping the 2D animatics, storyboards and layouts with the use of cinematography/composition/perspective used effectively. The rule of thirds were recapped which serves as a guideline with it’s intersections to balance objects and characters using diagonal key points. The golden ratio with golden number, proportion and ratio by two numbers represented as a Greek letter which is found in nature and pleasing to the eye. There is also geometry and summary to craft interesting compositions, add visual interest, correct perspective, distortions and create balance.

There are also types of camera shots found which are

• Close ups
• Extreme close ups
• Medium shots
• Long shots
• Very wide shot
• Head shot
• Two shot
• Zoom in/out
• Pan 
• Tilt
• Crane
• Track
• Dolly

There’s also crossing the line [180 Degree Rule] – the onscreen spatial relationship between character and another character or object within a scene. The camera should be kept on one side of an side of an imaginary oasis between the characters while moving the camera over the axis which is jumping the line or crossing it. The rule enables the audiences to usually connect with unseen movement happening around the immediate subjects. 

Continuity – The movement and direction is key to avoid unintended jumps cuts to lose the audience. Screen direction is critical. Natural reason for the character to suddenly look in another direction is a mistake to avoid. Attention to continuity also extends to reactive character sizes, positions, characters, camera movements anything that would create confusion shots. 

Layout – After storyboarding, it leads to the creation of final backgrounds and shot compositions. Role of layout artists to design and create the stage upon which the characters and special effects do their magic. They are developed for storyboard panels and layout artists are required to have graphs of concepts such as perspective, compositions and level of detail. Layout artists should furthermore be able to think their environment in 3D space. 

Perspective – Important aspect related to layout. It is what creates the illusion of space and enhances the principle of solid drawing. Perspective is also tricky to use and fully understand and takes a lot of practise to perfect. 

Scale in layout – Mastering scale in layout is difficult and takes a compositional eye as well as an understanding of perspective. In digital animation levels can be replaced in layers. Different layouts will require different styles and number of levels.

Rules of layout scale – Different layouts will require different styles and number of levels.
Different layouts will require different styles and number of levels.                                Different layouts will require different styles and number of levels.

Layout Composition – Composition in terms of layout is structing the scene and its components to highlight the story in a deliberate and conscious manner. It deals with the overall structure of a scene and manipulates viewers into looking where ands at what you want them to focus on. It not only deals with placement of character but with props and settings as well.

• Successful layout composition considers (amongst others) :
• Alternative Angles
• The Rule of Thirds
• Leading the Eye
• Negative Space
• Framing Devices
• Lighting

Be careful of tangents – Especially circled above to be avoided, completely destroy the perspective and the illusion of space. Avoid it, especially masters when it comes to the horizon line. 

Be careful with placements – Try not to have large blocks of wide open space, everything placed on the background, mid ground or foreground.

Compositional Tips – Have something in each place (background, mid – ground and foreground). Consider the composition of every single item you draw in your layout, even down to small details such as fallen leaves or brickwork.

Alternative Angles – Snake like serpentine elements can be used to draw the eye across environments and frame objects. Similarly very direct converging points focus the eye immediately where you want the audience to look.

Be careful with dominant horizontal or vertical lines as they can lead audiences eyes off screen. In this shot the eye travels around the image but in a controlled manner which aids a sense of wonderment or of being lost. In this example the position and masses of objects causes the eye to jump from object to object.

Positive and negative space – Be careful with dominant horizontal or vertical lines as they can lead audiences eyes off screen. In this shot the eye travels around the image but in a controlled manner which aids a sense of wonderment or of being lost. In this example the position and masses of objects causes the eye to jump from object to object. Often no character will appear in the scene. In these instances particular attention should be paid to the negative space. In this example every layer of the cave is a negative shape and care should be taken in designing each one to ensure a composition which is pleasing to the eye and does not dominate.

Framing – In this example the brush hose and boots lead the eye away from the focus on the main characters. This can be improved by pointing the hose and boots inwards towards the characters and by adding the brickwork which narrows the scene and helps focus. This is what can be called a framing device.

Techniques for generating compositions 

• Silhouettes
• Storyboarding
• A solid base

General Rules – 

• MOVEMENT REFERENCE IS KEY – ACT IT OUT OR FIND VIDEO FOOTAGE
• Don’t be too precious with the storyboard panels – expect them to change
• Focus on capturing the movement and story
• Stick to greyscale to speed up the process
• Create an animatic as soon as possible
• Test storyboards and animatics with people who aren’t familiar with the story

It’s great to learn this all again like in first year knowing what we have to look out for our major project.