animated storytelling: simple steps for creating animation...
TRANSCRIPT
AnimatedStorytelling
SimpleStepsForCreatingAnimation&MotionGraphics
LIZBLAZER
AnimatedStorytellingSimpleStepsforCreatingAnimation&MotionGraphicsLizBlazerPeachpitPress
FindusontheWebatwww.peachpit.com.PeachpitisadivisionofPearsonEducation.Toreporterrors,[email protected].
Copyright©2016byElizabethBlazer
AcquisitionsEditor:NikkiEchlerMcDonaldProductionEditor:TraceyCroomDevelopmentEditor:JanSeymourCopyEditor:JanSeymourProofreader:KimWimpsettCompositor:KimScott,BumpyDesignIndexer:JamesMinkinFrontCoverDesign:ArielCostaCoverIllustration:ArielCostaBackCoverDesign:LauraMenzaInteriorDesign:LauraMenza
NoticeofRights
Allrightsreserved.Nopartofthisbookmaybereproducedortransmittedinanyformbyanymeans,electronic,mechanical,photocopying,recording,orotherwise,withoutthepriorwrittenpermissionofthepublisher.Forinformationongettingpermissionforreprintsandexcerpts,[email protected].
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Theinformationinthisbookisdistributedonan“AsIs”basiswithoutwarranty.Whileeveryprecautionhasbeentakeninthepreparationofthebook,neithertheauthornorPeachpitshallhaveanyliabilitytoanypersonorentitywithrespecttoanylossordamagecausedorallegedtobecauseddirectlyorindirectlybytheinstructionscontainedinthisbookorbythecomputersoftwareandhardwareproductsdescribedinit.
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Manyofthedesignationsusedbymanufacturersandsellerstodistinguishtheirproductsareclaimedastrademarks.Wherethosedesignationsappearinthisbook,andPeachpitwasawareofatrademarkclaim,thedesignationsappearasrequestedbytheownerofthetrademark.Allotherproductnamesandservicesidentifiedthroughoutthisbookareusedineditorialfashiononlyandforthebenefitofsuchcompanieswithnointentionofinfringementofthetrademark.Nosuchuse,ortheuseofanytradename,isintendedtoconveyendorsementorotheraffiliationwiththisbook.
ISBN13:9780134133652ISBN10:013413365X
987654321
PrintedandboundintheUnitedStatesofAmerica
Thisbookisdedicatedto:EvanStoryOliverandJeffOliver
AcknowledgmentsArialCosta,forsharinghisspirit,immensetalent,andartistry.Hisillustrationsonthecoverandthroughoutthisbookaretheworkofamultitalentedwizard.
NikkiMcDonald,forsupportingthisbookineveryway.Ithasbeenanhonorandprivilegetoworkwithyou.
JanSeymour,theeditoreverywriterhopesfor—supportive,sharpasawhip,andcreative.Jan,youmadetheeditingprocessfreeofstressandfullofjoy.
TothePeachpitcrew,TraceyCroom,MimiHeft,KimScott,andKimWimpsett,thankyouforyourcareandprofessionalisminhelpingmecompletethisbook.
IhumblythankandamdeeplyindebtedtoRobinLanda,ChristinePanushka,DeniseAnderson,LauraMenza,MarcGolden,BillMoore,BrianOakes,BrookeKeesling,AlanRobbins,KarinFong,KimDulaney,SterlingSheehy,GregAraya,ColinElliot,ErinElliot,MikeEnright,YorikoMurakami,USCSchoolofCinematicArts,TEDActive,TED-Ed,StephanieLo,JeremiahDickey,SarahShewey,KellyYoungStoetzel,ElizabethDaley,KathySmith,SheilaSofian,LisaMann,MarElepano,JohnAndrews,LeahShore,ElaineMontoya,BeckyPadilla,JustinCone,CarlosElAsmar,RonDiamond,BonitaBlazer,JonBlazer,andSheldonBlazer.
Thisbookcouldnothavebeenwrittenwithoutthecollaboration,editing,andlovefrommyhusband,JeffOliver.
ArtCreditsArielCosta,CodyWalzel,SiriratYoomThawilvejakul,PhilBorst,JamieCaliri,LouisMorton,MichaelWaldron,RichardBorge,SterlingSheehy,ColinElliot,NathalieRodriguez,JialiMa,KimDulaney,PassionPictures,Psyop,TheMill,VonGlitschka,IanWright,JordanBruner,MaciekJanicki,GregoryHerman,StefanBucher,HsinpingPan,JamesLancett,SeanWeston,AnNgo,RichardE.Cytowic,TED-Ed,AlbertoScirocco,leftchannel,KarinFong,SonyPlayStation,ImaginaryForces,MiguelJiron,MarshaKinder,MarkJonathanHarris,ScottMahoy,andJuliaPott
TableofContents1Pre-Production
Thedoorwaytoawell-plannedanimatedpiece
2Storytelling
Tamethelimitlessmedium
3Storyboarding
Buildyourvisualscript
4ColorSense
Enhanceyourstorywiththerightpalette
5WeirdScience
Experimentwithanimation
6SoundIdeas
Getyouraudioandstoryinsync
7DesignWonderland
Worldbuildingandenvironmentaldesign
8Technique
Marrystyleandstory
9Animate!
Big-picturethinking,framebyframe
10ShowandTell
Create,share,andnetwork
IntroductionWeliveinamagicaleraforanimatedstorytelling.Filmfestivalshavesprungupworldwidetocelebratenewanimation,televisionandthewebarepackedwithanimatedcontentforbothkidsandadults,andadvertisersarehungrilyseekingfreshtalenttoconnectwithaudiencesinameaningfulway.Skilledstorytellersspecializinginanimationareinhighdemand,andtheopportunitiestothriveinthefieldareeverexpanding.Andyet(untilnow)ithasbeendifficulttofindaresourceaimedatprovidingtheskillsnecessarytobecomeasuccessfulanimatedstoryteller.
Thisbookisastep-by-stepguideonhowtomakegreatstoriesforbothanimationandmotiongraphics.It’sbasedontheideathatwhetheryouarecreatingacharacter-basednarrativeorexperimentalfilmforfestivals,anadvertisementfortelevisionortheweb,oramotiongraphicstitlesequence,beingintentionalaboutstorytellingisthekeytosuccess.
Intensimplestepsbeginningwithpre-productionandstoryboardingthroughcolorandsoundandfinallytoanimation,thisbookwillprovideyouwiththetoolsyouneedtocreateaneffectiveanimatedstory.You’llfindconciseexplanations,usefulexamples,andshortassignmentsallowingyoutosetthetheoryyou’velearnedintoaction.You’llalsofindhintsonhowtotakefulladvantageofanimation’slimitlesspotential.
Bigconsiderationwentintotheideaofexploringanimationalongsidemotiongraphicsinthesamebook.Thetwoformsareoftentreatedasiftheycomefromdifferentworlds.Certainly,theygrewupindifferentneighborhoods.Animation(forthemostpart)hasbeenlumpedintothefilmmakingdiscipline,withitscommitmenttoexperimentalandcharacter-drivenstoriesdestinedfortelevision,movietheaters,andvideogameconsoles.Thestudyofmotiongraphics,meanwhile,hasbeenpartofthegraphicdesigndiscipline,whereitsfocusonbrandingandcontentpromotionhasmadeitessentialtoadvertisements,broadcastgraphics,andfilmtitles,tonameafew.Animationandmotiongraphicshavebeenkeptapart,andyetthesetwoformshavemuchincommonandsoverymuchtolearnfromoneanother.Theyarepresentedtogetherinthisbookbecausetheyexisthand-in-handandbecausetheirlessonsaremutuallybeneficial.
ForyouanimatedfilmmakerseagertogetyourexperimentalshortintotheOttawaInternationalAnimationFestival,you’llfindplentyinthisbookthatspeaksdirectlytoyourgoal,butIalsourgeyoutobeinfluencedbythe“commercial”cultureofmotiongraphicswhichstressesdisciplineandstrictdeadlines.ItwillhelpyougetthatshortcompletedandmailedofftoCanadaintime.Andforyoumotiongraphicsartistsworkingonanewcommercialspot,Iaddressyoudirectlyandoften,butpaycloseattentiontothelessonsofanimation’sexperimentalismandstorytellingstructures.Yourmotionworkwillthriveunderitsinfluence.
Soflipapageandstartthefun.Getreadytolearnscoresofpracticalskills,butknowyou’realsoheadedonapersonaljourney.Thisisaboutyougainingtheconfidencetotellthestoriesyou’vealwayswantedtotellandbecomingthestorytelleryouwerealwaysmeanttobe.Let’sgettoit…andmaytheanimatedstorytellingbegin!
1.Pre-Production
Thedoorwaytoawell-plannedanimatedpiece
Animationisalimitlessstorytellingmedium.Artistscancreateworlds,defygravity,flipfromfactualtofantasy,andtransportaudiencestoplacestheyneverimagined.Butjumpingrightintoanimationbeforecompletingthestagesofpre-productioniskindoflike
climbingintotheringwithaprizefighterwithouthavinghadasingleboxinglesson.Youmightgetaluckyjabinhereorthere,butafterthatit’sgoingtobeabloodbath.
Animatedstorytellingisallaboutplanning.Mostfailedprojectsreachthatlowpointbecauseadirectorbegananimatingbeforeansweringthreeessentialquestionsabouttheproject:Whatisit?Whatdoesitlooklike?andWhatisitmadeof?Inthischapteryou’llanswerthesequestionsinthreesimplesteps:ConceptDevelopment,Previsualization,andAssetBuilding.
Ifyoulearnnothingelsefromthisentirebook,learnthattheanimationmuseissecretlyananxiousplannerandyoumustlearnfromherexample.Whenshecomestovisit,sheexpectsherguestroomtobetidywithadetaileditineraryofalltheplacesyou’regoingtotakeherlaidoutonherbed,maybeevensomemintchocolatesonthepillow.Setupthemuse’sguestroomasshelikes;inotherwords,takepre-productionveryseriouslyorriskwastingweeks,evenmonths,workingonscenesthatdon’tfitor,worse,failtocompleteyourproject.Ignorethesestepsatyourownperil!
ConceptDevelopmentWhatisit?Thesinglemostannoyingquestionyoucanaskanartist:“So,what’syourpieceabout?”Themostprevalentresponse:“Um,I’mnotreadytotalkaboutit.”Well,getreadytotalkaboutit,Picasso.Clarityiskinginconceptdevelopment,whetheryou’remakingavisuallydrivenanimatedfestivalfilmoraclient-commissionedmotiongraphicspiecewitheither“somethingtotell”(suchasapublicserviceannouncement)or“somethingtosell”(likeanadvertisement).Untilyoucananswerthenaggingquestionofwhatexactlyitisyou’redoing,gonofurther.
StartwithaCreativeBriefIfyou’reworkingwithaclient,whetheritbeonahigh-budgetfilmtrailer,apublicserviceannouncement(PSA)forawebsite,oranadvertisementforTV,you’llmostlikelybegivenacreativebrief.Ifdoneright,thisdocumentshouldexplaintheclient’saimsandobjectives(whattheprojectmustbeandhowlong),audience,andmilestonedeadlinesfortheproject.Corporateculturedoesn’talwaysgetitright,butthey’reontosomethinghere.Thecreativebriefforcestheclientandcreativetogetonthesamepage(oratleastsomewhereclose).Ifyou’renotworkingwithaclient,thenIhighlyrecommendthatyouwriteyourowncreativebrief.
Weallhaveoureccentricprocessesandnothing’ssure-fire.ButIliketostepawayfromthecomputer,tapeabunchofblankpiecesofpapertothewall,andbreakoutaMagicMarker.What?Youdon’thaveanypaper?OKthen,Post-itNotes®?They’lldofine!Juststepawayfromthecomputer,grabsomekindofwritingutensil,andwritedownthefollowingbasicinformation:
Whatmustitbe?Shortfilm,PSA,advertisement,movietrailer,etc.
Whoisitfor?Filmfestivals,TVaudienceconsistingof11-to14-year-oldboys,myauntMaureen,etc.
Howlongmustitbe?Thirtyseconds,twominutes,etc.
Whatisyourobjectivewiththepiece?Toselldiapers,toraisemoneyforbreastcancer,tointroduceacomplexworldinafeaturefilm,etc.
Whenisitdue?Inamonth,insixmonths,etc.
Ihighlyrecommendcreatingacalendarthatworksbackwardsfromtheabsoluteduedatewithweeklymilestonesthatyouintendtosticktoalongtheway.SimplyGoogle“blankcalendar,”printthatbabyout,andmarkamilestoneoneachSaturdaythatmustbemetoryoudon’tgettogotoSam’s90sbashonSaturdaynight.
Done?Good.Answeringthepreviousquestionsisliketidyingupforthemuse,whichissmart,becauseshe’snearlyarrivingforherfirstvisit.
SummontheMuseYounowknowwhatyourprojectmustbe,whoit’sfor,andwhenthemilestonesaredue,butyoustilldon’tknowwhatyourprojectis.Again,stepawayfromyourcomputer;themusewillpopintohelpwhenyou’reactiveandbrainstorming.Now,approachtheblankpagesorPost-its®thatyou’vetapedtothewallandwriteyourBigIdeaupatthetop.ForapersonalprojectthatBigIdeaisuptoyou;perhapsyouwanttocreateashortfilminspiredbyarecentbreak-upandyourBigIdeatoexploreisfirstlove.Withaclient-basedassignmentyou’lllikelybegiventheBigIdea,forexample,aPSAonwaterpollutionoranairlinecommercialaboutbringingfamilytogether.Nowgrabthatmarkertight,becauseheregoes!
IwantyoutowritedowneverythingyouknowandfeelaboutyourBigIdea,whetherit’sfirstloveortheairlinecommercial.CompletelyemptyyourbrainofyourassociationswiththatBigIdeaontothepages.
Withfirstlove,explorethememories,wonders,pain,imagesthatflashinyourmind,wordsthatyouassociatewithitnomatterhowbizarre,andsoon.Foranadvertisementforanairline,writedownrecollectionsofpastflightsandimageryandemotionalconnectionsyouhavetotravel.Don’tworryifit’snegative(badairlinefoodorthesizeof
thebathroom)becauseyoucanalwaysflipthatlater.Thepointis,totalhonesty.Writethosethingsdown,fillingasmanypagesasyoucanuntilyouhavenothinglefttowrite—literallyuntilyourheadiscompletelyemptyofanythingelsetosayonthesubject.
Onceyou’vereleasedallthoughtsandfreeassociationsonthesubject,pushyourselftowritedowntwoorthreemorethings.Thiswholeprocessshouldtakebetween15and30minutes.
Thestoryisupthere!Nowthatyou’veemptiedyourbrainonthesubjectofyourBigIdea,circlethewordsandideasthatyoufindmostcompelling.Trytonarrowthelisttoyourfavorites—maybefourorfivegreatones.Sometimestherewillbeaniceconnectionbetweenthebestones.Ifit’sfirstlovethatyou’veexplored,thenyoumightcircleanidealike“It’saboutacceptingfaults”oranimagelike“Thewayhisshoelaceswerealwaysuntied.”Thesubjectofairlinetravelmightofferimagesofbeinggreetedbyalovedoneattheairport,theword“takeoff,”orevencrampedspaceincoachandthedreamofonedayhavingmorelegroomandasoftcushioninfirstclass.
Storytellingisasoldasdirt.Peoplehavebeenmakingupstoriessincecavedwellingtimes.Ourbrainsarewiredtomakeconnectionsandfindnarratives.Yes,yourbrain,too.
Foryourstoryoffirstlove,forinstance,justfocusingonthefeelingthatloveis“aboutacceptingfaults”andtheimagesof“hisuntiedshoelaces”maysparkanarrativeinyourmind.Justriffinghere,butlet’ssayit’saboutaneatandprimgirlwholovesaverymessyboywhoseshoelacesarealwaysuntied.Shekeepstryingtoneatenthemessyboyupandalwaystieshisshoelaceseventhoughheprefersthemuntied.Theygetinafightoveritandbreakup.Theneatgirlisinconsolable—shemissestheboyandevenhissloppy,untiedshoes.Sherunsouttofindhimbutthereheisatherdoor.Hehasflowersandisdressedverytidilywithhisshoelacesalllacedup.Thegirlsmilesseeingthathechangedforher.Shetakestheflowersbutthenbendsdownanduntieshisshoesandmussesuphishair.Theboysmileswidely,seeingthatshefinallyloveshimforwhoheis.
Fortheairplaneadweidentified“takeoff”andbeingcrampedincoachanddreamingofsittinginfirstclasswithmorelegroomandasoftpillow.So,maybewestartwiththatimageofaperson(Jane)stuckinacrampedseatonaflightthatwon’tleavetherunway,intotalmisery.Sheshutshereyestightandtriestovisualizeabetterairplanesituation:aspaciousseat,asoftpillow,akindandlovelysteward…butBOOM…she’swokenbyanudging.Janereluctantlyopenshereyesbutissurprisedbythelovelyfaceofaflightattendant(wearingtheuniformoftheairlineyou’retryingtosell).TheflightattendantsmilesandgentlynudgesJaneagainwiththesoftpillowsherequested.Janeacceptsitonlytonoticethatsheis(asshedreamed)nowinamuchmorespaciousandcomfortableseat.Theflightattendantsmilesagainandsays,“Timefortakeoff.”Janesnugglesintoherpillowonherspaciousseatandcloseshereyesagain,thistimewithapeacefulsmileastheplanedeparts.
I’mthefirsttoadmit,it’snotexactlyShakespeare,butyourbrainwantstomakeconnectionsbetweencharacters,anditlovestoresolveconflictinstories.Beginwiththosemeaningfulideasorimagesthatyou’vecircledandstarttodaydream.No,youcan’tdaydreamwhilescrollingthroughInstagram.Closeyoureyes,talktoyourself,pacetheroom,standundertheshower,makeyourselfabitbored,butkeepfocusedonthefourorfiveideasthatyou’vecircledinyournotes.Thestoryisalreadyupthere;youjustneedtoallowyourmindtimetoputtogetheranarrativeinawaythatworksforyou.
OnwritingDon’tworry,I’mnotgoingtogetintoawholethingaboutwriting.Thereareamillionbookswrittenbyprizewinnersonthesubject.TheonlyadviceI’mgoingtogivecomesfromErnestHemingway,whoknowsathingortwoaboutstringingwordstogether.Hesays,“Thefirstdraftofanythingis[BLEEP]!”Ifthat’strue,thenwhyworry?Asyougetintothefollowingwritingassignmentsdon’tstressout,justgetthosewordsdownonpaper;there’splentyoftimetoedit,sodon’tworryifitallsoundslikeBLEEP!
HoneYourPitchDon’tgointhewater.—TaglineforthefilmJaws(1975)
Fivewords.That’sallittooktoboildownStevenSpielberg’sblockbusterfilmaboutaman-eatinggreatwhitesharkthatterrorizesbeachgoersatasmallsummerresort.Butbelieveitornot,togetthosefivewords,thetagline’sauthorneededtoknowexactlywhattheprojectwasaboutandwhomitwasfor.
Atthispoint,sodoyou.
Mindyou,you’renotcreatingataglinetopromotesomemillion-dollarproductorsomemulti-billion–dollarfilm.Instead,you’lluseyourtaglineasameanstobetterunderstandyourownwork.Writingataglineforcesyoutoknowyourprojectintimatelyand,justasimportant,kicksoffacommitmenttoabrandingprocessforyourproject.
Beforeyoucancomeupwithatagline,however,you’llneedtocraftyourelevatorpitch.Here,you’regettingreadyforthemuse’ssecondvisit;youwanthertobeperfectlysatisfiedwithyourplanningandpreparation.First,writedownwhatyouwantthetoneofyourpiecetobe.Thatis,howwouldyouwantpeopletodescribeit?Shouldtheybesayingthatit’sheartfelt,scary,funny,dramatic,informative?Isitquirky,melancholic,outrageous,urban,loud?Throwthebesttonalwordsuponthewall.
Next,writedowntheplotofyourstoryinasentenceortwo.Plotiswhatthestoryis“about.”ForJaws,“agreatwhitesharkterrorizesasmallbeachtownuntilabravegroupofsharkhuntersgoontheoffensive.”Makeitsimpleand,really,twosentencesmax.
Underneaththeplot,you’llworkwiththeme.Themeisthedeepmessageofyourstorythatyoumaynotevenplan.Writedownvariousthemesofthestory,thatis,whatyourstoryis“reallyabout.”ForJaws,thiscouldbe“manversusnature,”“fearoftheunknown,”or“humanvulnerability.”What’scoolaboutthemeisthatitcanbeinterpretedinmanyways,soyoucanmakewhateverinterpretationsuitsyouaslongasitmakessensetoyourstory.Asimplelovestorymayendupbeingreallyaboutcowardiceoraboutgratitude.It’suptoyoutoidentifywhatyourpieceis“reallyabout”deepdown;you’regoingtoneedtofigurethatoutandputitonthewall.
Finally,writeonesentencecombiningthethreeconceptstobecometheelevatorpitch:“Jawsisaterrifyingmovie(tone)thatpitsaman-eatingsharkagainstasmallbeachtown(plot)withanunderlyingmanversusnatureidea(theme).”Okay,youhavenoworganizedyourstoryintotone,plot,andtheme.Beautiful!You’refullyorganizedandreadytomoveontoyourtagline.
Ifyou’reverylucky,thewordswillalreadybeinyourelevatorpitch.Forinstance,regardingthefirstlovestorywediscussedpreviously,youmayfocusontheuntiedshoelacesandgowithasimpletaglinelike“Love,Untied”ormaybesomethingabouttheboybeingmessylike“FirstLoveCanBeMessy.”
Thegoodthingsaboutataglineisthatyoucanuseitasaguideasyou’recreatingyourproject,andifyouusethetaglineforpromotion,theviewer’sexpectationswillprettymuchmatchthestory:Thetoneisgoingtobesweet,it’sgoingtobeaboutlove,andyougetthesensethatthingswon’tgoperfectly(butwon’tgohorriblywrong,either).
Fortheairlinead(andImustremindyouthatwe’renotlookingforataglinefortheairline,justyourpiece),youmayfocusontheword“takeoff”andJane’sdaydreamofabetterseat.Maybe“TakeoffasYouImagined”or,evenfocusingonthespaciousnessoftheseat,“DreamBigger.”Thereissomewordplaythatgoesintoit;Googledoeshelpinthisinstance,buttrynottogetcaughtupinbeingtoowitty.Again,clarityisthekey—orasbrandingfolkslovetosay(butoftenfailtoachieve):“Clarityovercleverness.”Whenthemuseshows,you’redonewithpreparations;conceptdevelopmentiscomplete.
PrevisualizationWhatdoesitlooklike?Lookatyou!You’venailedyourstorytoafewsimplewords,andthat’sessentialforyoutomoveontothenextstepofpre-production.
Previsualizationisalsoreferredtoasvisualdevelopmentorconceptart.AndFYI,folksinthebusinesscallitprevisforshort.Whateveryoucallit,thisstagehelpsdefinethelookandfeelofyourproductionbeforeitbegins.Previsualizationcanrangefromsimplesketchestofullyrenderedcharactersandbackgrounds.Previsservestobothsolidifydesigndirectionaswellasestablishanimationtechniquesandmethods.Itgivesyoutheopportunitytoexperimentwithvisualdirections,materials,andanimation.We’vediscussedtone,plot,andtheme,buthowdoyouwantyourprojecttolookandfeel?Willpeopledescribeitasgraphic,textural,clean,gritty,minimal,edgy,vintage?Willyourprojecthaveahandmadeaestheticorwillitbemoresimpleandmechanical?Gettingthelookandfeelrightisthefirststepinexpressingyourideavisually.
CodyWalzel,SketchbookArt
BeinfluencedI’dlovetotellyoujusttocloseyoureyesanddreamupalookandfeelthat’suniquelyyours.Ifyoucan,byallmeansdoso.Youmayalreadyhaveafirmgrasponhowyouwantyourpiecetolookandfeel.Butit’sokaytobeinfluenced,andthereshouldbenoshameincheckingouthowotherartistshavedonethingsinthepast.Imean,youprobablygotintoanimationbecauseyoulovedsomeoneelse’swork,sowhyshutyourselfofftothatinfluencenow?WhenItellyoutojumpontheInternetandwatchlotsofmotiongraphicsandanimatedshortsandcommercials,havefun,butrememberthatyouaredoingrealworkhere.Thisisresearch,soIdon’twanttocatchyoubingewatchingOldSpicecommercialsonYouTubeandforgettingtheplan(thoughthatTerryCrewsguyishilarious!).Thebiggestmistakeartistsmakeisnotspendingtimelookingforgoodreferences;inotherwords,don’tsetouttomakesomethingtotallyoriginalwithoutlookingforinfluences.Inordertomakesomethingtrulyfresh,youmuststudywhathasbeendonebefore,andthatmeansfindingthosereferences.
Createafileonyourcomputercalled“References”andinitcollectscreenshotsoftheimagesyoufindonlinethatyoulikeorfeelarepertinenttoyourpiece.Maybeonepiecehasacolortreatmentthatappealstoyouoravisualrhythmorstorystructurethatfeelsright.Fillthefilewithlotsofthingsyouwanttobeinfluencedby.Thinkaboutwhatexactlydrawsyoutoeachpieceandletthatguidethedirectionofyourproject.Ifyouwant,writedownthosethoughts.
ExperimentOh,muse?Weneedyouagain!You’rebusy?Shucks…
Ohwell,we’vegottodothisoneonourown.Butguesswhat?We’lldojustfinewithoutherbecausewe’relearningtobemoreorganized.Warning:Itmightgetalittlemessy!
First,stepawayfromthecomputeragain!Ifirmlybelievethatthebestexperimentationhappensinthephysicalworld.AfterallthattimeGooglingandgrabbingimagesonline,yourmindwillrespondtothetactile.AndyoushouldgetalittlebitDIYhere.Grabsomecoloredpencils,cardboard,watercolors,cottonballs,sandpaper,Play-Doh,crayons,coffeegrinds…basicallyraidakindergartenclassandthrowonamessysweatshirt.Oh,andmusic,becauseasweallknow,musichelpsspikecreativity.Soblastit—andifyourneighborsthreatentocallthecops,settleforheadphones.
Nowgetwild:Drawwithyourlefthand,spillcoffee,meltcrayons,letyourselfbeinventive.Thinkaboutsomeoftheimagesinyourpieceanddeconstructtheminanefforttoseethingsfromanotherangle.Youmaybesurprisedhowfreeingitistotreatdesignlikeascienceexperiment.
ImpactyourstorywithdesignIknowItoldyouwaybackinthebeginningofthischapterthatyourstorywasgettingsealedup,butthat’snottosayitcan’tevolve.Doingthekindofprevisualizationworkthatyou’vedonesofarwillinevitablyimpactyourstory.Animatorsandmotionartistsoftengobackandforthbetweendesigningandrefiningtheirconceptandthestorybeats(moreonthisinthenextchapter).Thishappensbecauseprevisualizationforcesyoutopointamagnifyingglassontheprimaryimagesofyourstory.Adragonthatyoucreatedforyourantacidcommercialtorepresenttummytroublesmightworkbetterwithagoofy-facedesign:Suddenlyyourealizethatthedragondoesn’thavetobethenastyfire-breathingkindandinsteadcanbenuttyandclumsy.Yourbraveknightmaydecidetoplayatrickonthesillydragoninsteadofviolentlylancinghimwithasword.That’sanexampleofstorychangingduetovisualdevelopment.Bepreparedandflexibleforthedesignprocesstoinformthisconceptdevelopment.It’sanessentialpartofthestorytellingprocess.
Ifyourstorydoeschangeasaresultofvisualconceptdevelopment,pleasegobackandchangeyourelevatorpitchand(ifyouneedto)evenyourtaglinetomatch.Sorry!
Sincerely,TheManagement.
AssetBuildingWhatisitmadeof?Assetsareallofthepiecesyou’llneedtobeginanimating.Assetscouldrangefromlogos,characterdesigns,replacementpieces,props,backgrounds,liveactionfiles,fonts,colorscripts,soundeffects,andmore.Allofthe“stuff”you’llneedtogointhereandmakethemagichappen.Whileyouwon’tbeabletofinalizeyourassetsbeforecreatingyourstoryboardandscript(whichwe’lltackleinthenextchapters),youcangetstartedonasset
buildingandcreatinganorganizationsystemwithwell-markedfiles.And,whoknows?Youmightbeluckyandalreadyhavesomeassetsthatyoumadehereinprevisualizationthatyou’llendupusinginyourfinalpiece.Guesswhat?You’vecompletedtheimportantstepsofpre-production!Prettysoonyou’llbeoffandrunning,animatingthroughthenight,headedforfame,fortune,andashelffullofawards.AndI’msureyou’veinternalizedeverythingwe’vegoneover,right?Asareminder,herearetheimportantstepsofpre-production.
Pre-ProductionRecap
1.Writeacreativebrief.
2.Identifyyourbigideaandcreateastoryline.
3.Developanelevatorpitchandtagline.
4.Determineyourproject’slookandfeelthroughinfluenceandexperimentingwithdesigndirections.
5.Makechangestoyourstorybasedondesigndecisions.
6.Beginbuildingandorganizingyourassets.
SiriratYoomThawilvejakul,MusicStudio
Assignment:CreateanadvertisementforaplaceNowlet’stryashortassignmentwhereyougettocreateyourownadvertisement.
Usingallofthestepswe’velearnedinthischapter,takeastabatpre-productiononanadvertisementforTV.Createa20-secondadforaplace(realorimagined):acity,state,country,mall,zoo,bar,bowlingalley,planet,orthelike.Thegoalistomakeitfeellikesomewherepeoplewouldactuallywanttogo.Thedemographicyou’rereachingandthe
reasonforthemwantingtogotherearecompletelyuptoyou.
Youcanfleshoutyourconceptusingtheeightframesbelowtocommunicateyourconceptwithabeginning,middle,andend.
2.Storytelling
Tamethelimitlessmedium
Therearelotsofreasonstolovetellingstoriesusinganimation.Butthebestreason?Therearenolimits.Youcanbreaktherulesofgravity,tossasidethespace-timecontinuum,inventimpossibleworlds,andtakeyouraudienceonajourneysimplywithshapes,sounds,andcolors.Wantagloriousswirlingmomentinhumanhistorytotakeplaceona
singlebladeofgrass?Goforit.Wantpeopletoliterallyweartheirheartsontheirsleeves?It’syourworld!Anythingispossibleandanythinggoes.
Withsuchpossibilitycomestheopportunitytostretchthelimitsofyourimaginationandindulgeinthemedium’sboundlessworld.Butdoyouthinkyourmindhasn’tthecapacitytocreatenever-before-seenworlds?Thinkaboutthelastdreamyouhad—likelyitbrokeallsortsoflawsofphysics,andmaybeevenmorality!Yourmindisadeepwelloftheimpossibleandisboundlesslycreative,Iassureyou.
Firstwe’llcoverastandardstorytellingmodel,followedlaterby“non-narrativestorytelling”inwhichI’llencourageyoutoseeforyourselfhowfarbeyondtheboundsyoucango:You’llbepromptedtotelltwostories,onestraightforwardandtheotherlikeajazzriff,apost-modernpoem,adreamscapethattakesaudiencesonanunpredictableandevenuncomfortablevoyage.Iwillencourageyoutogohogwild.
Butthegreatchallengeincreatingmeaningfulanimatedstoriesislessaboutlettingyourimaginationflyfree.Weknowitcandothat.Thegreatchallengeismoreaboutdiscipliningyourselftoreelitinandbeintentionalaboutyourstorytellingchoices.Becausewhatismostconsistentamongwell-craftedanimatedstoriesislesshowmind-bendingofaworldtheartistcreatedbutmorehowmuchdisciplinetheyexercisedinlimitingtheirchoices,especiallyasitpertainstostorytelling.Withthischapterwe’llfollowtwostorytellingpathsthatallowfordisciplinedcreativity.
StoryStructureInthelastchapteryousummonedthestorytellingmuseandestablishedyournarrativeidea.Youevenwhittleddownyourstoryideaintoafewchoicewords.Nowit’stimetoplotthatbabyoutandseewherethestory“beats”are.
You’veGottheBeatsBeatsareallthemomentsoractivestepsthatmoveyourstoryforward,and“plottingthemout”meanslayingdownthosebeatsintoanorderthatcreatesthemostemotionalimpact.Everywriter’sroominAmericausesgoodold-fashionedcuecardstoplotoutstoryandrecordthebeats.Cuecardshaveamagicalqualitybecausetheycanbemovedaround,thrownout,andamendedinseconds.Theyremindusthatstoriesaremalleableandthatnocardispreciousuntilthey’reallintheirfinalorder.Sopleasestepawayfromyoursparkling27-inchretinamonitor,grabapackofthree-dollarcuecards,andlet’sgettowork.
Artist’sNote
Ifsketchingoutyourbeatsonthecuecardsismoreintuitiveforyouthanwriting,thenbyallmeanssketchyourbeats.Justmakesurethatthesketchesareroughenoughthatyoudon’tmindthrowingthemoutlater.
Onyourstackofcuecards,goaheadandwritedown/sketchoutallofthemomentsthatmoveyourstoryalonguntiltheconclusion.Eachcardshouldrepresentanactivesteporbeatinthestorylineandcanbebothphysicaland/oremotional.Forexample,supposeyouhaveastoryofalionhuntingforfood.Thelionstalkingpreyisanactivestep,asisthe
lionfeelshungry.Treateachofthesebeatsasthesamelevelofimportancefornow.Anddon’tworrytoomuchifyouhaven’tfiguredoutthespecificsofhowyouwillshowthesebeatsyet.Yourcardsmightread“Lionstalksprey”and“Showthatlionishungry.”Youjotthesedownonthecard,eventhoughyoumaynotyethavefiguredouthowtoshowthehuntandifyouwantyourlion’stummytorumbleoryouwanttoexpresshishungerinanotherway.Forashortanimatedpiece,youshouldendupwithanicelittlestack,between15and30cardsintotal.
Three-ActStructure:ProblemsSolvedNowthatyou’vegotyourstackofcuecardsthatencompasseveryelementofwhathappensinyourstory,placethoseonthewallinchronologicalorderinthreeseparaterows.Thesethreerowsrepresentatraditionalthree-actstorytellingstructure,which,atitsmostdistilled,isalinearstorywiththreebasicstepsoracts(andisperfectlysuitedtoshorts):1.Acharacterhasaproblem.2.Thecharacterworkstowardsasolution.3.Thecharactersolvestheproblem,usuallyinasurprisingway(seetheThree-ActStoryStructurechartthatfollows).Next,createafourthrowof“additionalbeats.”You’llputcardsherethateitherdon’tfitintoyourstructureorthatyousimplydon’tyetknowwhattodowith(andwhichyoumayneveruse).Noteontheme:We’lltalkmoreaboutthemelater,butdokeepyourstory’sthemeinmindasyoucreatethesecuecards.Whetheryouincorporatethatthemeasyougoalongoryougobackandsupplementthecardslater,themewillplayanimportantpartinthestorytellingprocess.
Thesethreestepsformthefundamentalarcofatraditionalshortstory.Three-actstructureissoengrainedinusashumanbeingsthatitpermeateseventhemostcommonstorytellingmedium:jokes.Unlessyourbeloveduncleistellingit,youprobablylikeyourjokestogetrighttothepointandpayoffquickly.Knock-Knock.Who’sthere?Nobel?Nobelwho?Nobell,that’swhyIknocked.Isincerelyapologizeforexposingyoutothatcornyjoke,butitnicelyillustratesthethree-actstructure.Here,acharacterhassomeoneknockingontheirdoorandtheydon’tknowwhoitis(Problem,Act1).Theyaskwhoitistwice(AttempttoSolveProblem,Act2).Finally,theylearnwhoisknocking:ahorriblepunster(Resolution,Act3).
NoteforMotionGraphicsArtists
Three-actstructureworksforinformation-orientedmotiongraphics,too.Whileyoumaynotbeworkingwith“characters”thatareaimingto“solveproblems,”youwilllikelyhavea“question”that“needstobeanswered.”ForexampleinaPSA,aquestionmightbe:“BreastCanceristakingmoreandmorelives.Howdoweraisemoneyforresearch?”UsetheThree-ActStoryStructuregraphtomapoutthree-actstructureforbothanimationandmotiongraphics.
Act1:SettingupcharacterandconflictYourfirstrowofcuecards,Act1,shouldintroduceyourcharacter(s),establishwhattheywant,andalsointroduceaproblemstandinginthewayofthemgettingwhattheywant.Someexamplesare:Astorkisverylatetodeliverhisdailyquotaofbabies,buthe’ssoeasilydistractiblethathe’snevergoingtomakethedeadline.Atreewantssunlight,butit’slockedinadarkcloset.Aboywantstoeatadeliciousbowlofsoup,buthedoesn’thaveaspoon.BytheendofAct1youshouldhaveestablishedyourcharacter’sproblemandwhatstandsinthewayofthemsolvingit.Thereshouldbethesensethatsolvingtheproblemisgoingtotakesomeseriouseffort.
Act2:WorkingtowardsasolutionThenextrowofcards,Act2,iswherethecharacterattemptstoovercometheproblem.Hereyourcharacterfullycommitstosolvingtheirproblemandcomesupagainstallsortsofroadblocksthatmakesolvingitseemevenlesslikely.
Icannottellyouhowmucheasierthisstepwillbeifyoutakethetimetofleshoutyourmaincharacterwithspecifics.Inourstoryofthedistractiblestork,whatelsecanweknowabouthim?Whatifheisvainabouthismoustache…andheisalwayshopingtofindhislong-lostsister?HowaboutifourstorklovesLatinjazz?Suddenly,yourstoryhasmanypossibilitiesforAct2.WeknowfromAct1thatourstorkhasonlyalimitedamountoftimetodeliverhisbabiesandsoistryinghardtowardoffhisproclivitytowardsdistraction.Butwhatwilldistractourstork?Whatwillbetheroadblockspreventinghimfromaccomplishinghisgoal?Well,nowthatweknowhimabitbetter,wouldn’titseemfittingifhe’scontinuallydistractedbywaxinghismoustacheinmirroredbuildings?Maybehekeepsthinkingheseeshislong-lostsisterinpassingapartments,orperhapsheevencloseshiseyestoenjoysomeTitoPuenteandlosestrackoftime?Themorespecifictraitsyougiveyourcharacter,themoreopportunitiesyouwillhavetocreateorganicroadblocksfortheminAct2.Sopleaseasksomespecificquestionsofyourmain
character:Whataretheirdistinguishingphysicalattributes?Whatdotheylove?Hate?Whatistheirdrivingmotivationinlife?Theirsecret?Theirbiggestfear,andsoon?
Act3:AttainingthebigsolveOkay,soourdistractiblestorkhascommittedtosolvinghisproblem(deliveringthosebabiesontime)andisworkinghardtowardsthatgoal,buthekeepscomingupagainstroadblocksthatmakeattaininghisgoalnearlyimpossible.BythelastcardinAct2youshouldhavethefeelingthatthere’sagoodchancetheproblemwillNOTbesolved(yourcharacterhastriedalmosteverything).Butthereisstillthatoneinamillionchance…
Yourthirdrowofcards,Act3,istheresolution.ThisactusuallyhasfewercardsthanActs1and2becausethecharactershouldnowbefacingtheirproblemheadon,windingintoanunexpectedresolution.Inourstoryaboutthedistractedstork,thedeadlineisalmostup.Hehasonebabyleftbuthasaccidentallylockedhimselfintoanapartmentwherehethoughthesawhislong-lostsister.He’sdoomed!Sowhat’sgoingtohappen?Whatwillbethesatisfyingendingtoyourstory?Willhemagicallystumbleupontheparentsofthelastbabyanddeliveritintime?Willhefailtomeetthedeadlineandbefiredfromhisjob?Willacertainjazzsongontheradio(hislong-lostsister’sfavorite)remindhimoftheimportanceofunitingfamily,therebyinfusinghimwithasuddenabilitytohyper-focus?Willhepryopentheapartmentwindowandflydirectlytothebaby’shomejustintimetomakethedeliverybeforemidnightanddiscoverhislong-lostsisterplayingjazztrumpetinthebackyard?
Thechoiceofbestendingrestssquarelyonyouestablishingexactlywhatitisyou’retryingtosaywithyourstory.Creatingasatisfyingendingrequiresmoreinformationthanjustthebeatsyou’vewrittendownunderActs1,2,and3.Ontheboardiswhatyourstoryis“about,”whichistheoverallplot,thebeats,thescenes.Butinordertocreateatrulysatisfyingendingyoualsoneedtoknowwhatyourstoryis“reallyabout,”orthetheme.Wetalkedaboutthisabitinthefirstchapter,butIcan’tstressenoughhowimportantitisforyoutoestablishwhatdeepdownmessageyou’retryingtoexplorewithyourstory.
Inourstork-y…sorry…storyaboutthestork,howweendthestorydependsonthemessagewewanttogiveorpointwewanttomake.Forinstance,ifourthemeisoptimistic,like“loveconquersall,”then,indeed,it’sthemomentwhenourstorkisfocusedonhisloveforhissisterthathefinallyfindsthestrengthtodohisjob.Thisupliftingthemedrivestowardsahappyending,soyouexpecthimtobereunited.If,however,youdecidethatyourstoryhasadarkperspectiveonlife,like“lovecausespain,”thenourstorkwouldfailtoreachhisbaby-deliveringdeadline,befiredfromhisjob,endupalonelisteningtohisjazz,andforeverlongingforhissister.Notgreatforthebabiesbutstillasatisfyingendingthatisenrichedbytheme.
Butdon’tstopatagreatending.AsI’vesaidabove,themeshouldenrichyourentirenarrative.Gobacktoyourcardsandjotdownsomenotesonhowyourmessagecanenhanceeachbeatinyourstory.Ifyouhaveanoptimistictheme,“loveconquersall,”theneighborhoodmightbesunlitandcolorful,surroundedbylushparkswherecatspurrlovinglyasthestorkmakeshisdeliveriestosnappyjazz.Ifyouhaveadarkstoryandyourthemeis“lovecausespain,”theneighborhoodswherethestorkdeliversmightbemysteriouswithangrydogsinthewindows;thelightingwouldbedramatic,withmutedcolors;andyourpiecemighthavesadjazzmusic.
Three-actstructure,exampleonePhilBorst’sone-minuteshortfilmColorBlind(seeimagesfromthefilmbelow)isagreatexampleofsimpleThree-ActStorystructureinfusedwiththeme.Whenaskedwhathisstoryisabout,Mr.Borstsaid,“Theunderlyingthemeofthestoryiskindnessandhowsometimesapersoninneedcaneasilybeoverlookedbecausetheyarealittledifferent.”
Act1.BlueSquare,wholivesinaworldofhappy,rollingcircles,isunhappybecausehe’sasquareandcannotroll.Act2.PinkCirclestopsnexttotheBlueSquareandforamomentappearstohaveahelpfulidea.ThisgivesBlueSquarehope.ButjustasquicklyPinkCirclerollsoff,leavingBlueSquarealoneagainandevenmoreunhappy!Act3.ButPinkCirclereturns…withabicyclepump!ShepumpsBlueSquarewithairuntilhebecomesacirclethatcanroll.BlueSquareisdelightedandthankfulforPinkCircle’skindness.Theybothrollaway,happy.
PhilBorst,ColorBlind
Theplotiseasytopindown,butnoticehowBorst’stheme,kindness,permeatesthroughoutthepiece.TakePinkCircle’ssize,forinstance.She’snotthesmallestofthecircles;ifshewas,wemightthinkthatshe’sjustachildmotivatedmorebynaivetéthankindness.She’salsonotthebiggestofcircles,whichmightinsinuatethatshe’sactingonakindofAlphagenerosity.AlsonoticethatoncePinkCircleblowsupBlueSquare,BlueSquareisactuallyabitbiggerthanPinkCircle,notthesamesizeorsmaller.IfBlueSquareendedupbeingtheexactlythesamesize,youmightthinkthatPinkSquarewasmotivatedtocreateaperfectplaymateforherself—thatwouldbeaboutfriendshipandnotjustkindness.ThatideaisreinforcedbythefactthatPinkCircleandBlueSquaredon’trolloffinthesamedirection.Theygooffhappilyinseparatedirections.Borstwantedtogivetheimpressionofselflesskindness,withnostringsattachedorexpectations.PinkCirclesimplyseesBlueSquarestrugglingandwantstobekind.
Three-actstructure,exampletwoHeartisaUnitedAirlinescommercialdirectedbythebrilliantanimationdirectorJamieCaliri(seeimagesfromthefilmonthenextpages).Amasterofvisualstorytelling,Caliri’sstoriesalwaysfeelmoreinevitablethanpredictable.Theaudienceisalongfortheride,alwaysrootingforthecharactertoreachtheirgoal.
Act1.Twoloverssaygoodbyeattheairportandthewomangivesthemanherhearttokeepwhileshe’sgone.Herproblemisthatsheneedstogetbacktothismanwhohasherheart(literallyandfiguratively).Act2.Thewomanfliesofftoaccomplishtheworksheneedstogetdonebeforeshecanreturntotheman.It’shardworkandshefeelsempty;afterall,herheartismissing.Act3.Thewomanreturnstothemanwhogentlyhandsherbackherheart.Sheiswholeagainandtheycanbetogether.
JamieCaliri,UnitedAirlines,Heart
Therearemanythemesthatcanbeattributedtothispiece,butlet’stakeaswingatthebat:“Whenyoulovesomeoneyouaren’twholewithoutthem.”Ormaybetheinverse:“Togethernessmakesyouwhole.”It’sasweetmessagebutdoesn’thavetobeinterpretedashappy-go-lucky.YoucanseebythewaythefemalecharactergazeslonginglyouttheairplanewindowthatCaliriseessomesadnessinthenotionthatpeoplearenotquitewholewithoutbeingnexttotheonetheylove.Noticethatintheendthefemalecharacterdoesnotrunheadlongintothearmsofherlover,elatedtohaveherheartback.Sheissimplyhappytoseehimagain—morecomfortedthanecstatic.
NonlinearStoryStructureOkay,likeIpromisedearlierinthischapter,it’stimetogoabithogwild.Becausewhiletraditionalthree-actstructureprovidesadependablemethodforcreatinganimatedstories,whatifyouwantsomethingthatoffersjustalittlebitmore…?Sounddangerous?
Whatifyou’reinfluencedbystoriesthatdon’tseemtohaverecognizablearcsoreasilyinterpretedthematicintentions?Whatifyouwanttotellstoriesthatcutbetweendifferentpointsintime,arewhimsical,moody,andsymbolic,andusesound,color,andpacinginatotallyunexpectedway?
Stillinterested?Thennonlinearstorytellingmaybeforyou.It’satreasuretroveforseekersofamorepoetic,non-narrative,abstractstyleofstorytelling.Andit’sablasttomake.Butdon’tbefooled.Thoughnonlinearstorytellingmayappearchaotic,itactuallyrequiresevenmoreplanningandattentiontodetailthanlinearstorytelling.Innonlinearyounolongerhavethree-actstructuretoguideyou,andgonearethelimitsonhowyoucanusecharacter,sound,anddesign.You’recompletelywithoutanet.Totallyscary,andyettotallyinvigorating.
So,howdoyougoaboutmakinganonlinearstory?
BeginwithInspirationFirst,youmustidentifyapointofdeparture(suchasasound,animage,oranidea)thatyoufindsopowerfulthatyou’reinspiredtobuildaroundit.Itmustbesomethingthatmakessomuchsensetoyou,providesyouwithsuchaspark,thateventhewildestinterpretationofitwouldprovecompellingtoyou.Whetherit’sasongthatrepeatsinyourhead,apoemyouonceheardthatblewyourmind,animagefromadreamyou’vestowedawaysincechildhood,whateveryourinspirationis,thinkofitasapieceofartsovaluablethatyoumustbuildamuseumarounditandopendoorstothepublic.
Butthatbetterbesomegorgeousmuseum,right?Becauseunlessitmeetsthestandardofyourinspiration,thenthewholethinggetssullied.Andthereinliesthechallenge.Whileyourinspirationmaybeabeautifulthing,it’snotenoughonitsown,soit’suptoyoutocreateelementsthatworktoelevateit.Ifyourinspirationisasong,thentheimagesmustbejustassplendid;ifyouneedwordstomatch,they’dbetterbepurepoetry.Donotletyourinspirationalelementdotheheavyliftinginyourpiece.Letitleadbyinspiringtheotherelementstoriseupandmatchit.
NowBuildaStructureWait,wait,Ithoughtthiswastimetogowild—nostructure,norules,remember?
Igowild,andIwantyoutogowild,too,butnowthatyou’vefoundyourpricelesspieceofartandcreatedalloftheelementstobuildyourmuseum,let’satleastmakesurethatthere’saroof!IntheNonlinearStoryStructureschartarequickdescriptionsoffoureasy-to-follownonlinearstorystructuresthatprovideatremendousamountoffreedom…butstillprovidearoofforyourstory.
Asyoucansee,it’snotanexactscience,andyetnonlinearconsistsofthemostprevalentanimatedstorytellingoutthere:Musicvideos,titlesequences,broadcastgraphics,andtitlesequencesforTVandfilmallfollownonlinearstorytellingstructures.Whileit’softenconsideredthemost“outthere”and“artistic,”nonlinearalsoconsistsofsomeofthemostcommercial.Thatistosay,it’simportantyoubecomeasproficientanonlinearstorytellerasalinearone.Weallneedapaycheck,afterall…
Nonlinearstructuresample:TheBeadedNecklaceLet’stakethecasestudyofLouisMorton’saward-winningfilmPasserPasserasanexampleofnonlinearstorytellingdonejustright.ThefilmcompletelyblewmeawaywhenIfirstencounteredit,notthatIcoulddescribeexactlywhatitwasabout.ButwhatIcoulddescribe,quiteeffortlessly,wasthesoundtrack.It’sanurbansoundscapeofhonkingandshufflingandchurningmetalandconcrete—acacophonyofpeopleandrhythmswithgreatemotionalpower.
NoticewhenMortondescribeshisfilmhowkeyhisinspirationelementwastoitscreation:“Passerisinspiredbythecitysymphonydocumentaryfilmsofthe1920s.Mygoalwastocapturetheatmosphereofacitybyrecordingitssoundsandcreatingan
imaginedworldinspiredbythosesounds.It’saplayfullookattherelationshipbetweenpeopleandtheirbuiltenvironment.”
Andwhilethestructureinhisfilmdoesseemchaotic,listentohowintentionalMortonsoundswhenhedescribesthestructuralaspectsofthefilm:“Iwantedtheviewertopassthroughonesoundenvironmenttothenextuntilallthesoundsreturnattheend.Inmanywaysthefilmwasbasedmoreonthestructureofasongthanonatraditionalnarrativefilmstructure.”
Iencourageyoutotrackdownthisfilmonlineorinthefestivals.Itsimplymustbeexperiencedandexistsasagreatexampleofnonlinearstorytellingbornofinspirationandinfusedwithnonlinearstructure.Takeapeekatsomeoftheimagesinthefilmshownhere,whichasyoucanseeMortonelevatedtomeethisauralinspiration.
LouisMorton,PasserPasser
Nonlinearstructuresample:BookEnding
MichaelWaldron,ExquisiteCorpse
AsyoucanseeinsomeofMichaelWaldron’sExquisiteCorpseimages,thisisagreatexampleofusingthebookendingstructuretohelporganizeanonlinearstory.Hispiecebeginswithamanridinginonabikeandendswiththesamemanridingoffonabike.Aseriesoftext,graphics,andevenanewanimatedcharacterappearsinthemiddle,butthestructureworksbecausethestoryisboundtogetherbyacommonbookending.Thestructureofsimilararrival(atthetop)anddeparture(attheend)impliesthatajourneyhastakenplaceinbetween.Nomatterhowchaoticthatjourneymayappear,itjustmakesense.
StorytellingRecap
Three-ActStructure
Createthebeats
Buildthestory’sarc
Act1:Problem
Act2:Attempttosolveit
Act3:Resolution
NonlinearStructure
Identifyyourinspiration
Createthebeats
Buildyourownstructure
Useaknownstructure
BookEnding
TheCountdown
ThePuzzle
TheBeadedNecklace
Assignment:LinearandnonlinearstorytellingGrabyoursketchbookand,usingthestepswe’velearnedinthischapter,telltwostoriesaboutafavoritemodeoftransportation,oneusinglinearthree-actstorytellingandanotherusingnonlinear(thatopportunityItoldyouyou’dhaveforusinganinspirationalpointofdeparturetogohogwild).
StoryStarters
KeepaProlificStoryJournalWhenitcomestocreatinganimatedstories,quantityiskey.Withalittlepractice,you’llnolongerbeworriedifyour“perfectidea”isn’tworkingbecauseyou’llhavefivemorereadytogo.
Thefirststepistogetyourselfablankjournal.Carryitwithyouandwriteinitcompulsively.Fillitwithmeanderingthoughts,personalexperiences,snippetsyoueavesdropwaitingforthetrain,andnarrativethreads.Jotdownembarrassingquestions,oddthemes,fantasies,nonsense,andsoon.Don’tworryifyournotesaresilly,crazy,orevencliché.Onceaweek,gothroughyourjournalandcirclewhatcatchesyoureye.Lookforrepetitiveandprovocativeideasthatkeepcomingupandconnectionsthatsparknewthoughts.Animatedstoriesoftencomefrommashingtwoconceptsthatdon’tseemtofittogether,sopairthatquestionyouwroteaboutcavemanchefswithyourhaikuonJell-O—therejustmaybestorygoldthere!
Onceyou’vehonedinonsomethingthatinterestsyou,closeyoureyesandthink.Yourmindlovestocreatenarratives—tosolvenarrativepuzzles—soifyoucommittofocusingononlyyourcavedwellingchefandJell-Orhymeforlongenough,Iassureyouthatastorykernelwillappear,nomatterhowdisturbingthatstorykernelmaybe.NowtypethatmorphingideaintoadocumenttitledStoryIdeas,andmoveontothenext.Afterafewweeks,you’llbesurprisedatthenumberofstorykernelsyouhaveonyourlist.Somanythatyouprobablywon’tcareifacoupledon’tworkout.
StoryIdea…MeetClassicPlotIdeallyyourlistofstoryideasaresogroundbreakingthatnostale,oldstructurecouldpossiblycontainthem.Believeme,nothingwouldmakemehappierthanifyoudiscoveredsomenew,brilliantwaytotellstories!Butinthemeantime,experimentingwithclassicstorytellingparadigms(theonesthathumanbeingshavebeenusingsincethedawnoftime)neverhurtanyone.Youmightevenfinditliberating.
3.Storyboarding
Buildyourvisualscript
“Atourstudiowedon’twriteourstories,wedrawthem.”
—WaltDisney
WaltDisneyisknownformanyimportantinnovationsinthefieldofanimationand
motiongraphics.Butperhapshismostusefulcontributioncameinthe1930swhenhedecidedtopinupaseriesofhisroughsketchesinsequencetohelpexplainastoryideatohisteam.Likemanygreatinnovations,thedecisioncameoutofnecessity—animationisanexpensiveandtime-consumingprocessinwhichasinglemisstepcanbeverycostly.BeingabletosolidifystorybeforeanimatingcouldpotentiallysaveafledglinganimationstudiolikeDisney’smorethanafewbucks.Plus,themethodsuitedMr.Disney’snaturalshowmanship.Heusedthevisualaidofhissketchestobringthefullscopeofhisideastolife,includinghisthoughtsontiming,staging,framing,continuity,andtransitions.Hewouldusethesesketchestogetpeopleexcited—fromhisteamofartiststopotentialinvestors.TheprocessbecameessentialatDisney,andwithintenyearslive-actionstudioscaughtonaswell,makingstoryboardingasubiquitousasscriptsinHollywoodbacklots.
Storyboardingisyouropportunitytoworkoutthevisualelementsthatbestsuityourstory.Itcanhelpyoudeterminemostaspectsofyouranimatedpiecebeforemovingasinglepixel.Boardingsavestimeandmoneyandcanhelpyougetpeopleexcitedaboutyourprojectbeforeit’smade.Simplyput,thebetteryourstoryboard,themorelikelyyouaretoachievesuccesswithyourproject.
PleaseNote
Thischapterpresentstheclassic,commercialstoryboardingprocess.Manyanimatorsusethestoryboardingprocessto“write”theirstory—thischapterassumesyou’vearrivedherewithafleshed-outstory.Manymotiongraphicsartistsprefertotackletimingearlyonintheirprocessandthereforemightjumpfromthumbnailsketchesstraighttodigitalanimatic.Whilethischapterlaysoutaspecificprocess,Iencourageyoutopersonalizeyourownandfindwhatworksbestforyou!
I’llcoverthebasicstructureofstoryboardingfirstandthencontinueonwithsomeofthedetailsyou’llusethroughouttheprocessthatallowyoutomakeyourstoryboardcompleteandreadyforanimatics.Theentireprocessisorganic;letyourstoryboardingevolvegraduallyfromsimpletomorecomplex.
BuildtheStoryboardAsyoubegintheprocessofstoryboarding,you’recreatingindividualframesoftheaction.Youstartoutroughandgraduallyaddtheneededdetails.Thisprocessensuresthestoryisfirstunderstandableandthenallowsyoutoaddthenuancesthatmakethestorymorecomplexandinteresting.
ThumbnailingThumbnailsarethefirstroughsketchesofyourstoryboards.Theyhelpyouworkoutthesequencingofyour“shots”andprovideanopportunitytoestablishimportantaspectsofstaging,framing,scale,andtransitions.Yourthumbnaildrawingsshouldberough—stickfiguresarejustfine.UsePost-itNotesaswell—they’rere-positionableandpurposefullylimittheamountofdetailyoucanaddtoyourdrawing.Approachthumbnailingastheexperimentationphaseofstoryboarding,andkeepawastebasketnearby—you’regoingtobelobbingalotofhookshotsinthatgeneraldirection.
RichardBorge,StoryboardArt
ThumbnailrevisionsOnceyou’vedrawnupyourthumbnailsketches,slapthemuponthewallinsequenceandgetreadyforsomebrutalrevisions.Dotheshotsmakesense?Arethereleapsintimeorlogic?Lagsinstory?Clunkyflowfromscenetoscene?Pitchyourthumbnailstoyourselfframe-by-frameandvoiceoutanydialogueyou’vewritten,orevensingthemusicyouintendtoplayoverthefinishedpiece.Ifsomethingisn’tworking,beruthless.StickaPost-it®Noteoverproblemareasandre-drawuntilitfeelsright.Anyfixesyoumakeherewillsaveyoutimeandheartachedowntheroad.
StoryboardingIfthumbnailingwasaboutroughstickfigures,thenstoryboardingisabout…stickfigureswithbowties?What!?Somestoryboardartiststakethetimetocreatebeautifullypolishedrenditionsofeachframe,butthegoalhereisnothighart,it’sclarity.Ifyouareabletocapturetheactionandemotionofyourstorywithlittlemorethanscribbles,thengoforit,butjustmakesureyou’reabletocaptureallthedetail.Justdon’tcomecryingtomewhenyoustartanimatingandsay,“Wait,Iforgothishat!Mychefhasnohat,butthere’snoroomtoaddit!”
Onceyou’vecompletedyourdrawings,usethespaceunderneatheachframetowriteeitherdialogueorbriefexplanatorynotes(suchas,“hearsbear”or“comestolife”).Onceyou’redone,acasualobservershouldbeabletounderstandwhat’sgoingonineachframeandevenfollowtheoverallstory.
StoryboardrevisionsTimetotestoutyourstoryboardsbypresentingthemtoasmallaudienceor,atveryleast,infrontofonepersonwhoisn’tafraidtoaskyouhardquestions.Pitchingyourstoryboardtoanaudiencewillforceyoutoclarifyyourbeatsandthedecisionsyou’vemadeaboutstagingandflow.Plus,anauthentichumanreactionoffersagreatsoundingboard.Watchyouraudiences’bodylanguageasyoupitch—it’sasimportantas(andoftenmorehonestthan)theirverbalfeedback.
Onceyou’vemadechangesbasedonfeedback,reviseyourboardsandcleanthemupforpublicconsumption.Manyclientswillreactbettertoclean,elegantlyrenderedstoryboards.Ifaclientneedstobesoldonanideafromboardsalone,theybettersparkle!Ifacrewofanimatorsanddesignersareusingyourboardstogeneratetheirshotlist,thentheboardsshouldbedetailedenoughsothatnoelementisleftuptointerpretation.
NoteonStyle
Considerusingadistinctdrawingstyletoenhanceyourstoryboards.Ifyourpieceishumorous,consideralighter,cartoonystyle.Ifyourprojectisfullofdrama,blackandwhitecoloringmightworkbest.Ifit’sespeciallysophisticated,layeringinbaroquedetailmayhelptoenhanceyourvision.Choosewell—stylechoicesthatyoumakeinthestoryboardingphasecanhelpclarifyyourintentionsandbringyourstorytolife.
StoryboardinghintsOkay,nowthatyouknowthestepstosetupthebasicstructureofyourstoryboards,what’sthebestmethodforcreatingeffectivestoryboards?Orinotherwords,whatarethedetailsyouneedtoconsiderthroughoutthestoryboardprocesstoallowyoutoaddthevisualelementsthatwillbringthefullscopeofyourstorytolife?Ithasalottodowithputtingonyourdirector’shat.Youhavetocomposeyour“shots”asinamovie,notonlyforclarity(whichisthemostimportantthing)butalsoformaximumemotionalimpact.Thatmeanslearningathingoftwoaboutshotcomposition,framing,staging,andtransitions.Thesearethedetailsthatyouaddframebyframemakingeachaperfectunitastheyallowthecompletestorytounfold.
SterlingSheehy,Storyboards
ShotCompositionWanttogiveyouraudiencethefeelofamajesticlocation—say,amountainpeakatsunset?Aslow,panningextremewideshotwillevokethemountain’sbeautyandsheersize.Whatabouttheloneclimberwhofinallyreachesthesummitofthatmountain?Howbesttocapturetheirjoy?Aclose-upwillbestrevealtheexpressionontheirface(andtearsintheireyes)withmaximumintimacy.Youraudienceishungryforinformation,andshotcompositionisallaboutrevealinginformationtoyouraudience.Youcangetascloseto,orasfarawayfrom,asubjectasyouwant(asdirectoryouhavethepowerofX-rayvision,flight,andinvisibilityallatonce),sotaketheinitiativetobringyouraudiencerightuptotheaction.
Butcomposingdifferentsizedshotsisn’tonlyaboutprovidinginformationforyouraudience.Itcanalsobeusedtowithholdinformationformaximumeffect.Takeourmountainclimberwhohasreachedthepeak.Let’ssaywechooseamediumclose-uptogivetheimpressionthatshehasfinallyreachedthepeak.Weshowourclimberweepingintriumph,jumpingupanddowninvictory—shehasdefeatedthegreatmountain.Butthenwepullbacktoawideshottorevealthatinfactourclimberhasonlyhikedatinyfoothillatthebaseofthegreatmountainandisnowherenearthesummit!Withonequickchangeinshotsize,ourclimberwentfromskilledandheroicclimbingveterantohopelessamateur.Onesizechangetocomedygold.
Shotcompositiongrantsyouthepowertorevealinformationhowyouwishtoyouraudience,souseyourpowerwithgreatcare.
FramingIfsizingyourshotsisallaboutgivingyouraudiencethepertinentvisualinformationtheyneed,thenframingisallaboutkeepingthateyeinterested.Framingistheartistryofyourshots,the“cinematography,”and,inaway,thepoetry.Sure,youcouldjustplopyoursubjectinthemiddleofeachframe,hell,youcouldplopatornadointhemiddleofyourstoryboardframeand,yes,itwillstillbeatornado.Butyouwantpeopletofeelthewind,thechaos,andthemovementofthetornado.Dynamicframingisoneofthekeystoenhancingthevisualdramainyourstory.
Thefamed“ruleofthirds”providesaneasy-to-followtoolforkeepingyourframingdynamic.Simplybreakdownyoursingleframeintonineequallysizedquadrantsbydividingitbothhorizontallyandverticallyintothirds.Now,insteadofplacingyoursubjectsquatinthemiddle(whichisconsidereda“static”location),placeitinanotherbox—thetop,bottom,left,orrightthirdoftheframe.Trylayingthefocalpointofyoursubjectononeofthefour“intersectionpoints”whereyourquadrantlinesmeet.
Whydothis,right?Seemsrandom?Well,thinkofitasentertainingachildonEasterSunday.IfyouwantthemtofindanEasteregg,youwouldn’tjustputitonthetableinfrontofthem.SincethechildwillnaturallyroamaroundfortheEasteregg,theywilllikelybemoreexcitedbytheeggoncetheyfinditundertheparkbench.It’sinteractive.Samewiththesubjectinyourshot.Theeyewantstoroamandwillfeelmoregratifiedifitgoessearchingandfindsyoursubject.Placeyoursubjectinthemiddleandthere’snowheretogo—it’saboringgame.Putyoursubjectclosertotheedgesandthere’sroom
toroam.Playthegamebytherules(ofthirds)andyourshotswillfeelmorepleasurablefortheeyeandwillgiveyourstoryasenseofexcitementandsuspense.
StagingWhilethoughtfulframinghelpsyoucomposeshotsaroundasubjectinawaythatkeepstheviewer’seyeinterested,stagingisallaboutwhereyouputthatsubjectinspace(andtheotherobjectsintheshot)inthesceneinrelationtothecamera.Stagingshouldcreateavisualandconceptualhierarchyfortheobjectsandcharactersinyourframe,placingtheminawaythatreinforcesyouroverallstory.
Firstthingtoconsider(asalways)isclarity.Youwantyouraudience’seyetoclearlyseewhat’sgoingonwithyoursubject.Sothatmeansavoidcrowdingitwithunnecessaryvisualinformation.Let’ssayyourprojectisaboutananimatorwho’sbeenupallnightworkingonstoryboards.Thoughtheirstudiomayhaveabigbookshelforastereoorheavilyframedphotosthatareorganictothelocation,addingthemtoyourshotmeansthatyouraudience’seyewillroamtostorydeadzones—wherevisualinformationdoesnotenhanceyourstory.Youwanttostageonlythevisualelementsthatwillenhanceyourstory.Inthecaseofouranimatorpullinganall-nighter,youmaywanttostageawastebinfilledtothebrimwithcrumpledpagesnexttoherdesk,arowofemptycoffeecupsonthefloor,and/oranalarmclockthatsays6:00a.m.inbigredletterstotheside.Stagingitemsaroundyoursubjectshouldhelptoemphasizetheideayou’retryingtoconvey,whilenotdetractingfromtheimportanceofyourprimarysubject.
Butstaginghasadvantagesbeyondenhancingyoursubject.Itcanalsoprovidedepthtoyourshots.Inthetangiblesense,stagingyoursubjectgivesasenseofphysicaldepthto
theenvironment.Let’slookatanotherexampleforthisone.Onecharacterishandingcarkeystoanothercharacter.Placingthecharactershandsandkeyslargeintheforegroundandthecarsmallinthebackgroundwillimmediatelycreatedepthandinterest.Thisstagingallowstheaudience’seyetoroamfromthelargermainsubjecttothebackgroundwhereitcandiscoverthecar.Asmentionedearlierwiththeruleofthirds,discoveryisalotmorepleasurablefortheeyethaninstantgratification.Givingtheeyesomephysicaldepthtoexplorefornewinformationmakesforamoreinterestingvisualcomposition.
Butthereisanotherwaythatstagingaddsdepthtoyourshots:inthestorysense.Bystagingyoursubjectalongwithimportantvisualinformation,youofferyouraudienceadeeperreadofwhat’shappeninginyourstory.Inthecaseoftheanimator,thecrumpledpapersinthewastebin,ofcourse,representtheanimator’strialanderror,butadeeperanalysiscouldinterpretthattheoverflowedwastebinrepresentsherindomitablespirit.Youmustearnthisleapthroughconsistentstorytelling,butonceyouraudiencegetstointerpretingvisualinformation,youmaybesurprisedatsomeoftheconnectionstheymake.Thisisgenerallywhypeoplecallagoodstory“deep.”
TransitionsandContinuityBoldstatementalert:Animation’smostpowerfuladvantageoverotherformsoffilmmakingistheanimatedtransition.There,Isaidit,cautiontothewind!Anythingcanhappeninbetweentwoframesofanimation.Youcantransformtheblackpupilofaneyeintotheblacktextonagirl’sreportcard,afire-breathingdragonintoababy’sbathtoy,orthedoortoyourboss’officeintothegatesofhell.Aswithanimationasawhole,thepossibilitiesforanimatedtransitionsareendless,whichisexactlywhyyoumustpractice
greatdisciplineandmakethosetransitionsworkwithyourstory.Themostdependablewaytoaceyourtransitionsistopaycloseattentiontocontinuity.Continuityisthenaturalflowofvisualinformationfromoneshottoanotheremployedtosupportyourstory.Atitsmostbasicyoumustensurethatthestoryisflowingfromshottoshot.Ifacharacterisblastedwithwindinoneshot,makesurethattheirhairismessyinthenextshotandthatitstaysmessyuntiltheycombit.Ifacharacterisonthesecondfloorofabuilding,theycan’trunoutofthefrontdoorandintothestreetwithoutwalkingdownsomestairs.You’dbesurprisedhowmanyfilmsletthisstuffslipthroughthecracks.Thesimplestwaytoguardagainstcontinuityerrorsistoalwaysfollowthelogicoftheworldyou’vecreated(spatialcontinuity),thestoryyou’retelling(temporalcontinuity),andthephysicaldirectionit’sheadedin(directionalcontinuity).
ObserveSpatialContinuityMakingsurethattherulesthatyou’veestablishedinyourworldareconsistentfromshottoshotiscalledspatialcontinuity.Ifyouestablishearlyoninyourstorythatthereisforestbehindaboy’shouse,whenherunsoutofhishouseandintothebackyard,youknowwherehe’sheaded—intothewoods.Ifyouhaveestablishedthesizeofhisbedroom,whenheliesonhisbedthrowingaballagainstthewall,evenifit’s“off-screen,”theaudienceshouldknowroughlyhowfarthatballshouldtravelbeforeitbouncesback.Ornot!Becauseusingthewondersofanimation,let’ssayyouwanttotransporttheboyfromhisbedroomdirectlyintoouterspace.Onegreatwaytodothatwouldbefortheboytothrowtheballagainstthewallandforitnevertoreturn.Thankstolawsofspatialcontinuity,theaudiencewillknowthattheballshouldreturnwithinasecondorso—whenitdoesn’t,theycanguessthateithersomethingintercepteditor(suddenly)thewallisgone!Whenyoucuttotheboy’sbedsurroundedbyouterspace,itwillactuallymakesenseasatransitionsinceitfollowsthelawsofspatialcontinuity.You’dbesurprisedhowmanyprofessionalfilmsmessthisupaswell,sotakethetimetodoadummychecktoensurethatallofyourshotsfollowthephysicalworldthatyou’vecreated.
ObserveTemporalContinuityTheconsistencyoflogicinyourstoryisknownastemporalcontinuity.Animationaudienceswillgoalongwithdramaticvisualchangefromshottoshotsolongasit’sloyaltothestorythey’rebeingtold.Temporalcontinuitycanoccurchronologically,orevenwithflashbacksorflash-forwards,butitmustmakesenseandbeearnedbasedontheworkyou’vedonetosetupasolidstory.Ifyou’veestablishedalove-struckteenagersearchingatapartyfortheobjectoftheiraffections,whentheyfinallyfindtheperson,temporalcontinuitywillallowavarietyofplausibleoptions.Youmayseetheteen’seyeballstransformintohearts;youmayseeaflashbackastheteen’sentirelifeflashesbeforetheireyes;aflash-forwardfantasymayoccurthattakesyouyearsintothefutureastheteenstandsblushingatthealterfinallymarryinghiscrush.Transitionscantakewildleapsandwillbeeasyforyouraudiencetostomachsolongasthey’reconsistentwiththestoryyou’vebeentelling.Ifyourtransitiondoesn’tmakesensetotheaudience,thenyouhaven’tearnedthatleap—soheadbacktothestoryboard.
ObserveDirectionalContinuityThisfinalruleisprettysimplewithdirectionalcontinuity:Maintainthedirectionofanyactionforanobjectorcharacterinasequencefromshottoshot.Ifacarisdrivingfromtheleftsideofapaneltotheright,youmustcontinuethatsamemovementintoyournextshot.Switchingdirectionsofvehicles,characters,oranyobjectthatisheadedinaparticulardirectionisdisorientingtotheviewerandabigno-noinstoryboarding.Doaseconddummycheckhere,becausedirectionalcontinuityerrorshappenallofthetime.
IsItReallyWorking?TimingandAnimaticsThenotionoftimingmayseemabitabstractatthispoint.Imean,howcanyounailtimingonabunchofstaticcards?Allowmetoexplainandemphasizethattimingisoneofthemostimportantdetailsyou’llneedtosolidifyinyourstoryboardingprocess.Imagineyourhorrorifyoupitchaflawless30-secondmotiongraphicsadvertisementtoaclientonlytodiscoverwhenyousitdowntoanimatethatit’stwominuteslong!Thereisnoamountofcharmthatcaneaseyououtofthatpickle.Toavoidsuchaconundrum,youmustworktoestablishthetimingofyourprojectduringyourstoryboardingprocess.
Firststepindoingthisistodeterminehowlongyourwholepiecemustrun,ortheTotalRunningTime(TRT).Now,breakyourstoryintothreeactsandestablishhowmanysecondseachactmustbe.Finally,timeeachscene,usingthedialogueand/orstagedirectionasarealisticguide.Youmayfindthatyouhavesometrimmingtodo.Youmightevenhavetocutsomebeatsthatyouloveverymuch.Well,timetogetbrutalbecauseyoumusthitthosemarks.Onceyoufeelthatthetimingisworkedout,pitchyourstoryboardsagaintoanaudience,thistimewithastopwatchinhand.
TheMagicIngredients:TimeandSoundStilldon’ttrustyourtiming?Itmaybetimetotakeastepintotherealmofcomputeranimationbycreatingananimatic.Ananimaticisavideoversionofyourstoryboardslaidoutinsequenceonananimationtimelinewithasoundtrackaligned.Itallowsyoutoseeyourstoryboardscometolifeandgetatruesenseofhowyourstorywilltimeout.
Tocreateananimatic,you’llneedtouseavideo-editingprogram.Manyareaffordable,someevenfreeifyoulookaround:iMovie,WindowsMoviemaker,AdobePremiere,AdobeAfterEffects,FinalCut,andToonBoomallworkwellforcreatingananimatic.Plus,there’sawealthofYouTubevideosthatcanteachyouhowtomakeanimaticswithanyoftheseprograms.
Onceyou’vedownloadedtherightprogram,scanandimportyourstoryboardsintotheprogramandlaythemoutonatimeline.Ifyouhaverecordeddialogue,music,voiceover,orsoundeffects,importthoseaswellandaddthemtoyoursequence.It’sgoingtotakesometinkeringtogetthisright,anditwillalwaysfeelabitawkward(afterall,youare“animating”staticshots),butdoyourbesttocreateanhonesttimelineofyourentirestory.You’llneed(again)tobringoutyourmostbrutalinternaleditor.Ifabeatistoolong,shortenit.Ifabeatseemsexpendableandyouneedthetime,getridofit.Youmightevenfindthatyouhavetoomuchtimeandbeforcedtocreateanewvisualbeat.Gettoworkonthatimmediatelyandrealignyouranimaticwiththenewbeat.Timingisthetruth,andthetruthwillbecomecrystalclearwhenyousequenceitoutonyouranimatic.Thisiswheresurprisesandexcusesvanish,becausetheanimaticisyourlastandfinalchancetogetyourstoryrightbeforetakingthebigleapintoanimation.
Ifyoufeelready—Imeanreallyready—thenlet’sgoforth!
SterlingSheehy,WakefieldStoryboards
StoryboardRecap
1.VaryYourShotsResponsibly:Utilizedifferent-sizedshotstoenhancenarrativelogicanddrama.
2.Framing&TheRuleofThirds:Keepshotsinterestingbyplacingsubjectoff-center.
3.Staging:Blockelementstocreatevisualandconceptualhierarchy.
4.SpatialContinuity:Makesureframesareconsistentwiththephysicalworldyou’vecreated.
5.TemporalContinuity:Makesureframesareconsistentwiththestoryyou’vebeentelling.
6.DirectionalContinuity:Makesurethingsaremovinginaconsistentdirectionfromframetoframe.
7.Timing:Breakoutastopwatchandmakesurethatyourstoryworksinthetimeyou’vebeenallotted.
8.Animatics:Stepintotheworldofanimationbylayingoutyourstoryboardsintoadigitaltimeline.
Assignment:StoryboardasimplepremiseUsingthemethodoutlinedabove,createthumbnails,thumbnailrevisions,storyboards,andstoryboardrevisionsforthefollowingsimplepremise:Acharacterinabinddiscoversamagiccarpet.Wheredotheyfindit?Wheredotheygo?That’sallI’mtellingyou,exceptthatitmustbe30secondslong,exactly.Onceyou’vecompletedyourstoryboard,pitchittoagrouporaperson.Timeitoutasbestyoucan,andifyoucanaccessaneditingprogram,goaheadandlayitintoananimaticforfinaltiming.
4.ColorSense
Enhanceyourstorywiththerightpalette
Colorhastremendousstorytellingpower.Itcanexpressemotion,clarifymotivation,andevendictatetheentiremeaningofapiece.Afarmer’slushgreenfieldmeanssomethingtotallydifferentifinsteadit’syellow-brown;ahero’srideoffintothesunsetbecomesa
rideintothedepthsofhellwithaslighttweakinhue;ayoungboy’sfirstkisshasadifferentconnotationiftherecipientofthekissturnsgreeninsteadofblushingred.
Sowhatarethebestcolorchoicesforyourstory?Whatisjusttherightamountofcolortouse,ifanyatall?Howcanyouusecolortoenhancetheemotionalimpactofyourpiece?Thischapterwillanswerthosequestionsandgiveyousomesimpleguidelinesforhowtoplanyourpaletteandenrichyourstorywithwell-informedcolorchoices.
CodyWalzel,MakeshiftSatellite,ColorScript
ColorVocabHue,Saturation,andValueFirstlet’smakesurewe’reallonthesamepageaboutbasiccolorvocab.Asyoumayknow,therearethreestandardcharacteristicsofcolor:hue,saturation,andvalue.Whenweask,“Whatcoloristhat?”we’reaskingforthehue.Huereferstothecommoncolornameinthespectrumlikered,blue,green,blue-green,andsoon.Saturationistheintensityorpurityofacolor.Highlysaturatedcolorslookvibrantandbrightwhilelow-saturatedcolorslookdull,almostgrayish.Valueistherelativelightnessordarknessofacolor—basicallyhowmuchlightthecolorisexposedtodeterminesitsvalue.Lowvalue
meansacolorisclosertoblack.I’llusethesetermsthroughoutthechapter,sopleaserefertothehue,saturation,valuecharthereifyouneedarefresher.
CreateaColorScriptLet’spulloutthosecuecardsagain.Thistime,insteadofblankonesgrabyourcompletedstoryboards.Ifyou’vealreadyattemptedtomakeananimatic,thenyourboardslikelywillbescannedandintegratedintoaneditingprogram.Ifnot,dosonow.Scaneachcardintothesoftwareofyourchoiceandlayoutyourboardsinsequence—it’stimetostarttheprocessofcreatingacolorscript.
Acolorscriptisasequentialvisualoutlineofhowyouintendtousecolorinyouranimatedfilm.Theprocesscanbehighlyexperimental,and,asusual,Iencourageyoutofindaprocessthatworksbestforyou.Thetrickistobalancewhatyouthinklooksrightinyourindividualsceneswithwhathelpstoenrichyourstoryasawhole.Storyisalwaysfirst,soyoumayneedtoreplacecolorsthatyouabsolutelylove(aesthetically)iftheydon’tservethebigpictureofyourstory.
Tobegin,takeastepwaybackandtrytodefinewhatcoloryourentirestorywouldbeifitcouldbeonlyonecolor.Thisisakintofiguringoutthethemeofyourstory,asitwillinfluenceeachofyourcolorchoicesasyoumoveforward.We’lldiscusscolorsymbolismsoon,butIencourageyoutogowithyourgutinansweringthefollowingquestionstohelpyoudeterminethatonecolor:Howdoesyourfilmfeel?Isitapinkfilm?Agrayone?Whatistheoverarchingcentralmoodofyourfilm,andisitstrongenoughtobaseyourfilm’spalettearound?Figuringoutthedominant,thematiccolorofyourfilmwillhelpestablishthepaletteofyourothercolorsmovingforward.
Onceyouhavethatonecolor,thenextstepistocreatewhatIcallapre-colorscript(PCS).Thisisyourstoryboardrepresentedbyaseriesofsinglecolors,oneforeachboard.Eachcolorintheseriescanberepeated.Thinkofyourpre-colorscriptasagameofcharades—youhavetotellyourentirestorystarttofinishbutyoucanuseonlyonecolorperframetodoso.
Thebestwaytostartthisprocessisbyidentifyingthekeymomentsinyourstorythatwillrequirecolorforemphasis.Thesearethemomentsthathavetopopinyourstoryline—andthenthecoloryouchooseintherestofyourfilmshouldacttosupportthosemomentsasbesttheycan.
LouisMorton,NoseHairStoryboards
Takeforinstancethestoryofabearcublostinthewoods.Saythecubfacesoffagainstsomedangerouspredatorduringthenightandbydawnfinallymakesherwaybackhometoherfamilyofbears.Themomentswherecolorisimportantseemstraightforward:whenthebearcubgetslostinthewoods,whenthecubfightsoffadangerouspredator,andfinallywhenthecubarrivessafelybackhome.Ifthesekeymomentsaretoberepresentedbysolidhues,whichwouldtheybe?
Iencourageyoutogowithyourgutinansweringthatquestion,breaksomerules,andbecreative.However,iftheideasaren’tfloodingin,itdoesn’thurttostartyourcolorthinkingwithpopularsymbolismthatpermeatesWesternculture.Redrepresentsmenace,anger,ordanger,likeDarthVader’sredlightsaberorCaptainHook’sredhatandjacket.Forinstance,youmaythinktouseasplashofdramaticredwhenthebearcubisfightingagainsttheviolentpredator.
Symbolism,however,maynotalwaysbestservethescene.Whataboutwhenourbearcubgetslostinthefirstplace?Forthedisorientationandfearthatthecubmaybeexperiencing,considerchangingthevalueoftheexistinggreensothatthewholeforestgoesabitdarkerwhenthecubrealizesthatshe’slost.
Finally,forthecub’sreturnhome,itmaybeneitherhuenorvaluethatbestenhancesthemoment.Perhapsachangeinsaturationwillworkbest.Throughthecub’stravelstheforestmayhavebecomedesaturatedtoimplythesadnessofthelostbearcub,butwhenthecubfinallydiscovershometheforestcouldreturntoasaturatedgreen.Itwillinfuseyourshotwithsuddenoptimismandjoyasthecubrunsbacktowardsherfamily.
Choosingtherighthue,saturation,and/orvalueforthekeymomentsinyourstorywillhelptoamplifytheemotionthatyou’regoingforandwillalsoclarifyintent.Youcanassigntoacoloranymeaningyou’vechosen—yousimplyhavetodefineandestablishitandbeconsistentwithhowyouuseitinyourfilm.WhetheryouchooseWesternculture’ssymbolismoryouassignyourownmeanings,it’simportanttoconsidersaturationandvalueaswellashue—andmostimportantly…gowithyourgut!
SupportingColorsOnceyou’veidentifiedthehue,saturation,andvalueforthekeymomentsinyourstory,goaheadandfillintherestofyoursceneswithsolidcolorsinthesameway.Treatyourkeymomentsasthestarsandchoosecolorsthatactassupportingcharacters.Youmaywishtoavoidhue,saturation,andvaluelevelsthatcompeteforattentionwithyourstar’skeyscenes.
JialiMa,BlackBird
ColorMeAwesomeNowthatyou’vecompletedyourpre-colorscript,it’stimetomoveontothebigtimeandcompleteyourcolorscript.WithyourPCSasyourguide,pullupyouroriginalstoryboardsequenceandbegintoworkoutthecolorsforeachboard.Theprincipalcolorthatyoualreadyselectedwillhelpkeepyoufocusedonthelookyou’regoingforineachscene.TakethecolorsthatyouidentifiedinyourPCSandintegratethemintotheboard.Onceyoudothatit’stimetoselectcolorsforthesupportingcastofcharacters,backgrounds,andpropsineachshot.Again,Iurgeyoutogowithyourgutandalwaysconsiderstoryabovevisualawesomeness.Andoh…
RemembertheimportantandsimpletipsI’veoutlinedonthefollowingpageswhenorganizingcolorforyourfilms.Theyrepresentthewisdomofexperiencedartdirectorsandproductiondesignerswhosedecadesofheart-wrenchingtrialanderrorledthemtoseethelight.Takeheedoftheirtips,orelsetheirendlesssufferingwillhavebeenallfornaught!
PleaseNote
Inprint,colorsarecreatedbymixingpigmentsonpaper.Mixtoomanypigmentsandyou’llgetblack.Inmotion,lightisusedtomixcolor.Ifyoumixtoomanycoloredlightsyou’llgetwhite.Asaresult,printandmotionfunctionintwodifferent“colorsystems.”MotionusestheadditivecolorsystemcalledRGB(Red,Green,Blue).PrintusesthesubtractivecolorsystemknownasCMYK(Cyan,Magenta,Yellow,Black).Longstoryshort,ifyounoticeaweirdchangeinyourcolorswhentransitioningfromprinttomotion,yourfilesmayhavechangedfromRGBtoCMYK.Mostprogramswillcompensateforthisshift,butifthingslookodd,youmaywanttogobackandchangeyoursourcefilesfromCMYKtoRGB.
KimDulaney,Airbnb.Leadartdirectionanddesign.CharacterdesignbyLaurenIndovina.DirectedbyMarcoSpierandMarieHyon.ProducedatPsyop
Tip1:LimitYourPaletteInstillartwork,theeyehastimetoexplorecolorandinvestigatecomposition.Withanimation(andallfilm),movementandthepassageoftimecreatetheneedforacontinuousandclearfocalpoint.Youwantyourstorytoreadquicklyandconsistentlyfromscenetoscene.Distractingtheviewer’seyewithunimportantobjectsthatarecolorfulisthefirstwaytolosetheattentionofanaudience.
Simplyput,inchoosingcolor,lessismore.Toomuchcolorvarietyinashotconfusestheeye,justastoomanyflavorsonaplateoffoodwillconfusethepalate.It’sbesttotakeaminimalistapproachtocolorandstartwithasfewcolorsaspossible.Itwillbefareasiertoaddcolorslaterintheprocessthantotakethemaway.Limitingyourpalettewillallow
theviewer’seyetoquicklyprocessthemovingimagesandfocusonwhatismostimportantinyourstory.
Tip2:Support(Don’tUpstage)YourSubjectBecarefulwithaddingtoomuchcolortobackgroundsandpropswhenyouhaveacolorfulmovingsubject.Movingsubjectsareyourstarsandneedspacetobreathe—theyshouldbesupportedbytheirsurroundingcolors,notupstaged.
Onewaytopleaseyourattention-cravingstarisbydesignatinganopenareaaroundit.Thisareaiscalledawhitespace(thoughit’snotnecessarilywhite).Yoursubjectwillthankyouforthewide-openstagewheretheycanbestbeseen,andevenifyouraudience’seyedoeswander,itwillbethankfulforalittlerestinyourwhitespace.
Anotherwaytolimitthevisualcompetitionaroundyoursubjectisbyusinghigh-contrastorcomplementarycolors.Thiswillhelptosolidifyfigure/groundrelationshipsaroundyoursubjectandwillmakeyoursubjectpop.Highcontrastisespeciallyimportantforkinetictype,logos,andbroadcastgraphics,sincewordstakemoretimetocomprehendthansingularobjectsandthereforerequireclearfiguregroundrelationships.
KimDulaney,Eno.Leadartdirectionanddesign.DirectedbyLaurenIndovina.ProducedatPsyop(aboveandoppositepage)
Tip3:SelectOneThematicandOneAccentColorWewentoverthisduringyourpre-colorscript,butIcan’tstressenoughhowimportantitistochooseadominantthematiccolortounifyyourentirepiece.Doingthisgivesyouabasisonwhichtoestablishyourpaletteandoffersviewersathemethroughwhichtheycanexperienceyourpiece.Onceyou’veestablishedyourthematiccolor,youshouldfocusonselectinganaccentcolor.Therearemanywaystopickcolorpairs.Trycomplementarycolors,analogouscolors,colorsnexttoeachotheronthecolorwheel,whatever.Fromthisdominantandaccentcolorallothercolordecisionsarederived—sochoosecarefullyandchooseearly.
ArielCosta,PixelShow
VonGlitschka,TireGoblin
Tip4:UseSaturationMindfullySaturatedcolorsaresoenergeticthattheycanstealthespotlightifusedinthewrongplace.Usesaturationinimportantplacesandmomentswhenyouneedacharacterorstorypointtopop.Relyonittoooftenandtheeyewilltireout.Inotherwords,userestraintwithsaturatedcolorsandsavethemforwhentheywillhelpfocustheeyeandmovethestory.
Tip5:UseSurpriseColorforPunctuationAsurpriseorunexpectedcolorisonethatdifferssogreatlyfromyouroverallpalettethatitjarstheeye.Whenplacedatakeymomentinyourstory,asurprisecolorcanenlivenyourmotionwork,tietogetherakeyidea,andeventriggertheclimaxofthestory.Warning:Muchlikesaturation,surprisecolorsareverypowerful,sousewithgreatrestraint.
KimDulaney,LindaLoves.Leadartdirectionanddesign.DirectedbyJordanBruner.ProducedatPassionPictures
Tip6:DesignforMovementIneachofyourboards,identifywhatwillbemovingandwhatwillremainstill.Whenchoosingcolor,makesurethatthecolorsinyourbackgroundsandstillobjectsdonotcompetewiththecolorsinyourmovingsubjects.Thegoalistodrawtheeyetowardsyoursubjectandtonotallowthelessimportantstillobjectstodistractfromtheaction.Thinkaboutdesaturatingthecolorsinyourbackgroundsorstillobjects,andletyourstarhavethespotlight.
Tip7:MakeYourOwnRulesAsyou’vefiguredoutbynow,coloriscomplex.Steadfastrulestousingcolorinmotioncanbecounterproductivetofindingtherightcombinationforyourfilm.Whenitcomestocolor,uncomfortablecombinationsandnewkindsofusagemaymakeforinterestingdesign.Whenusingcolor,feelfreetomakeyourownrulesforaproject—justbeconsistentwiththemsothatyourpieceisunified.
ColorRecap
ColorVocab:Hue,Saturation,andValue
MakeColorScriptstoEmphasizeKeyMoments
Tip1:LimitYourPalette
Tip2:Support(Don’tUpstage)YourSubject
Tip3:SelectOneThematicandOneAccentColor
Tip4:UseSaturationMindfully
Tip5:UseSurpriseColorforPunctuation
Tip6:DesignforMovement
Tip7:MakeYourOwnRules
Assignment:Subvertanurseryrhyme,makeacolorscriptSubvertasimplenurseryrhymebytranslatingitintoafilmgenre,suchashorror,comedy,musical,action,sci-fi,orWestern.First,writeathree-actstructure—onesentenceperact.Next,selectadominantcolorforyourpiece.Then,makeasimplepre-colorscriptforyourstory.Ifyouwantabiggerchallenge,trystoryboardingitinfullcolor!
5.WeirdScience
Experimentwithanimation
“IcallmyprocessWeirdScience.It’samixtureofcreativeritualsandexperimentation.Wefailalotandsometimeswe’relucky.Butifyou’redoingit
rightandyou’repayingattentionyoubegintolearnyourownweirdscience.”
—RamaAllen,Director,HBO’sTrueBloodtitlesequence
Perhapsmorethananyotherfilmmedium,animationprovidesabreedinggroundforexperimentation.Notonlyareyourimage-makingoptionsinfinite,buttheprocessallowsforwildswingsatthebatthatperhapsnoothermediumprovides.Experimentationisanessentialstepingettingthemostoutoftheanimatedprocessandmayevenhelpyoutodiscoverthedefiningmomentinyourstory.Sometimesstoriesareevenbornfromtheprocessofanimationitself.Still,someskepticsfearthewordexperimentation—theyfeelitimplieswhimsy,whichtheybelieveissynonymouswithwastingtime.Ifthat’showyoufeel,thenpleasegoaheadandreplacethewordwiththemorescientificphrase“ResearchandDevelopment.”Becausethat’swhatexperimentationis.Eventheoldestandmostsacredtechniquesandmethodscanbenefitfromafreshroundofexperimentation.
TaketheUnitedStatesnationalanthemwrittenin1814byFrancisScottKey.ThemelodywasconsideredsacrosanctwhenJimiHendrixgotonstagein1969andunleashedascreechingguitarsolobeforeastunned(ifslightlystoned)crowd.Itwasblasphemy…andyetitwasinnovativegenius.Jimihadtakenatriedandtrueformulaforwater(H2O)andcomeupwithliquidgold,and“TheStarSpangledBanner”wouldneverbethesame.
FindYourWeirdScienceLikeRamaAllen(quotedpreviously),JimiHendrixmadehisownweirdsciencetocreatesomethingnew;nowit’stimeforyoutofindyourweirdscience.Sosteelupyourcourage,musterupsomeHendrix-likechutzpah,andgothere—messaround,testlimits,learnsomethingnewthat’sdifficult—orriskleavingbehindacrucialelementinyouranimatedstory.Theexperimentationofthischapterisdesignedasahiatusbetweenthetransitionfromthenitty-grittyofpreliminaryworkofearlierchaptersandthetechnicaldetailthatcomeslater.Whatkindofanimationmagiccanyouimbueintoyourproject?
WizardofinventionillustratorIanWrighttookafamiliarphotographicportraitofJimiHendrixandthroughexperimentationreinventeditwithrollingbeads(atright).
IanWright,JimiHendrix.PhotobyEdPark
TheImportanceofCreating“Bad”ArtFirststepistocreatesometrulybadart.Andsincenoelsewilldoit,I(TheAuthor)herebygiveyou(TheArtist)permissiontomakebadart.Infact,Iassignyouthetaskoftakingatleastonescenefromyourprojectandmakingitasbadasyoupossiblycan.Here’swhatImeanbybadart.Forgetaboutcarefulcolorchoices;goagainstyourinstinctswithdesignandtechnique;getinthereandmakeamess.Haverainfallupward,layeroneffectslikeicing,turnthegrassneonpink.Havefunandcommittotryingsomanythingsthatyouendupwiththewildestversionofyourscenepossible.Permityourselftoworkonanideathatismeantfornocriticaleyesevertosee,andIguaranteethatyou’lllearnaton.Youmayevendecidetoincorporatesomeofyour“badideas”intothefinalproject.Ifyoudo,youmaybestunnedtodiscoverthataudiencesreacttothosebadideasassomeofyourbest.Thereasonissimple:Whenyourelaxandstopworryingaboutwhatpeoplearegoingtothink,you’reatyourmostcreativeandinventive.Whenyou’reatyourmostinventive,youmakethemostunexpectedcreativedecisions.Andnothinghelpsenhanceastorymorethaninventivecreativedecisions.Thosemomentsarethepointsinyourstorythatpeoplecallsurprisingandmagical.And…youneverhavetoletonthatthosesurprisinglymagicalmomentscameoutofanexperimentationwithbadart.
WorkontheEdgeofYourSkillSetItwasSamuelBeckettwhocoinedthephrase“failbetter,”andI’mthinkingofgettingatattoothatsaysjustthat.Tryingtoimproveatthingsthatyougenuinelystinkat,andnotjudgingyourselfforstinking,maybethesecrettoafulfillingartisticlife.Beckettwasn’tbeingirrational.Hedidn’twantyoutoflapyourarmsinanefforttoflyorskydivewithoutaparachute.Hewastalkingaboutworkingwithinyourareaofexpertisebutjustattheedgeofyourskillsetwhereyougetuncomfortable;wherefromeitherlackofexperienceorlackofabilityinanarea,youstink.Squarelyinthatzoneofthatdiscomfort,rightwhereyourstinkingismaximus,iswhereyourcreativegeniuswillhappen.Soinyourcontinuedefforttocreateweirdscience,trygoingbeyondyourcurrentcomfortzone.
JordanBruner,BattistaandFederico
Scoresofgreatartistsanddirectorshavebecomegreatbecausetheyhadthecouragetobehonestaboutwhatskillswereneededtogettothenextlevel.Theydidn’twanderaroundtryingeverythingforthesakeofit;instead,theyweresystematicaboutlookingtheirshortcomingsintheeye,turningtheirbacksontheembarrassmentandfearofbeingseenasafraud,andfocusingonexpandingtheirskills.Soaskyourself:Wherearethegapsinmyskillset?WhatareasofyourcraftdoIfeeltheneedtoinvestigate?
Now,setforthandfillthosegaps.Mightlearningtoshootandeditvideosharpenyourtiming?Needtobrushuponcharacteranimation?Fascinatedbutperhapsterrifiedbymotioncapture?Takethetimetoexperimentwiththem—allofthem.Askfavorsoffriendswhocanshowyouthebasics,takeonthepersonaofachildlearningalanguagewhoisunafraidofbutcheringit,andgettowork.Caveat:I’mnotaskingyoutoperfectwhat’sonthatlist,justtotryit,andleanintothediscomfortofnotyetbeingproficient.It’sinthisuncomfortableprocessthatyoumayfindthekeytoyourartisticgreatnessandperhapsevencrackthesecrettofailingbetter.
PersonalExperimentationHeavenUptothispointyou’vepermittedyourselftoexperimentlikeJimiHendrix,makehorriblybadart,andlearnnewskillswiththegoalofexpandingyourset.Butdon’tgiveallthatmagictoyourboss!It’softentheunpaidpersonalprojectsthatwillfurtheryourcraft,keepthecreativefiresburning,andifyou’reluckyleadtoevenbiggerthingsinyourcareer.
MaketheWorkYouWanttoBeHiredtoDoGregoryHerman,multi-disciplinarydirectoranddesignerwhohasworkedonsuchblockbustersas21JumpStreetandTheAmazingSpider-Manbutalsoanarrayofindependentfilmprojects,knowsathingortwoaboutgettingpigeonholedinHollywood.Whenadesigneroranimatorgetsknownfordoingsomethingwell,clientscomerunningforspecificallythatthing.It’seasytogetpigeonholedintoworkingonthesamekindsofprojectsoverandover.ForHermanthatthingwasbroadcastgraphics—hecomposesthembrilliantlybutisn’ttotallysatisfieddoingonlyonething.Hewantstospendhisdaysexpandinghisskillsandworkingonavarietyofprojectsthatinspirehim.Simplyput,hewantstobepaidtodotheworkhewantstodo.
CommonsensetoldHermanthatifhisreelwasfilledwithbroadcastgraphics,thenhe’dendupgettinghiredtodojustthat.Sohemadeastrategicchoice.Hedisplayedhisbroadcastgraphicsworkandpersonal/experimentalworksidebysideonhiswebsiteandreel.Themessagetoprospectiveemployerswasclear:Hewasamulti-facetedartist,abletodomorethanjustonethingreallywell.
TheMacroStudy(ontheright)isanexampleofthepersonalworkthatHermanspotlighted.MacroStudyfeaturesfilmictitlesequenceswithdark,suspensefulsoundtracksandclose-upimagesofeverydayobjectsshotwithamacrolens.ItwastheworkHermanwantedtodo:transformingtheseeminglymundane(brokentools,insects,plants,HotWheelscars)intomysteriousandexcitingworldsthattellanewstory.
GregoryHerman,Director,MacroStudyv003a
StefanBucher,DailyMonster308
Ittooksometime,buteventuallyHermanfoundhimselfbeingofferedworktocreatefilmtitlesequencesjustliketheonesfeaturedonhissite.Notthatthegraphicsworkoffersdriedup;quitetheopposite.Butnowhewasallowedtodobothandalsochoosebetweentheworkthathehadoncebeenpigeonholedtodoandtheworkthatreallyinspiredhim.Theresultcanbeviewedonhisimpressivewebsite.
PersonalProjectsPayOffinUnexpectedWaysStefanBucherisabusyman.Ahighlysought-afterillustratoranddesignerfortopclients,Bucherdoesn’thavemuchextratimeinhisday.Andyet,heekedoutenoughtimeonthesideofhisdemandingjobtocreatewhatislikelyhismostidentifiablework.Bucher’sDailyMonsterprojectbeganwithasimpleinkspotonablankpage.Hefoundthatblowingairontheinkcreatedanunusualshape,whichcouldformthebasisofakindofmagicalmonsterdrawing.Bucherbecameenchanted(andobsessed)withhislittleink-facedmonsterandcommittedtocreatingatleastonenewoneaday.
Bucherkepthispromise,andsoonthatsingleinkspotdrawingevolvedintooverathousandmonstercreations.TheDailyMonsterprojectisnowapublishedbook,apopularanimatedWebseries,and(hopefullyverysoon)aTVshow.Buchercarvedoutpreciousminutesfromhispackeddailyscheduletofollowhisbliss,andthepayoffhasbeenhuge(ontheleft).
It’sthepersonalprojectsthatwillhelpyouidentifythestoriesthatyouwanttotellandfurthercultivateyourpointofview.Sowhetherit’skeepinganactivesketchbook,scribblingdownshortnarratives,ormakingfilmsontheside,keeptheromancealiveandfindthetimetodotheworkthatyouwanttodo.Remembertotreatyourpersonalprojectswiththesameprofessionalismastheworkyou’regettingpaidfor.Youmaybesurprisedathowquicklyitgetsyounoticed,andhired.
YourFilm’sExperimentationListTimetograbapieceofpaperandgetdowntobusinessapplyingyourweirdsciencetoyourcurrentproject.Withineachframeofyourcompletedstoryboardexistsareasthatcouldbenefitfromexperimentation.Drawupagraphwitheachscene’snumberontheleftsideandaseriesofcolumnsattoplistingareaswhereyoumightexperimentwiththosescenes.Technique,Design,Movement,Transitions,Sources,andSoundaregoodexamplesofareaswhereyoumightexperiment,butyoushouldaddyourowncolumnstobestfitthepossibilitiesavailableinyourspecificfilm.
Nowthatyourgraphismade,considerhowyourprojectasawholemightbenefitfromeachareaofexperimentation.Youmaydecidethattherearemanypossibilitiesorjustafew.Gothrougheachofyourstoryboardsonebyoneandconsiderhowyoumightexperimentwitheachofthetopicslistedinthecolumn.Ifyouthinkthere’ssomethingthere,takeyourbest,wildestshot—Iassureyouit’llbeworthwhile.
Forinspiration,pleaserememberthatsometimesthebestwaytoexperimentisnottoinventnewwaysofdoingthingsbuttobeinfluencedbysomethingyou’veseenbeforeandlove.HeadontoAWN,Motionographer,Vimeo,orYouTubeandfindsomethingthatnailsthelookyou’regoingforinyourownproject.Takecarefulnotesofwhatelementsyou’rerespondingtoandthenaddtheseexperimentstoyourlist.
Transitions,ACaseStudyYourexperimentationlistshouldmostcertainlyincludetransitions.Animationallowsforthemostmarvelousthingstohappeninbetweentwoframes.HsinpingPan’sfilmUSOCHenryCejudoillustrateshowsimpledesignchoicescanachievebeautifulanimatedtransitions,removingallclunkycuts.Noticeinparticularhowsheorchestratesaseamlessstorytransitionfromthewrestlertohisadoringmotherbymorphingthebackgroundofthewrestlingstageintohismother’sbrowneye.Weknowthatthemotheristhinkingabouthersonassoonasweseeherfacewithoutanyadditionalinformation.Thetransitionbecamethestory.
HsinpingPan,USOCHenryCejudo
Movement,ACaseStudyThewordanimationisderivedfromtheLatinword“anima,”whichmeanssoul.Howyouanimatetheelementsinyourpiecerevealsitssoul,sonowit’stimetogetalittleJamesBrownwithyourproject.Doyouwantcertainmovementtobesmoothandelegant,quirkyandcomic,orjaggedandedgy?Whatevertoneyouchooseandwhatevermediumyou’reworkingin,it’sessentialtodoanimationexperimentswithkeycharacters,assets,andcameramovestofeeloutwhichtoolsworkbesttogetthemmovingthewayyouwant.
LouisMorton’scharactermovementstudiesareanelegantexampleofexpressiveinventedcharactermovementthatcanonlybetheresultofsuchexperimentation.
LouisMorton,PasserPasser,CharacterMovementStudies
AlbertoScirocco,leftchannel,FeedYourCreativeBrain,MotionConference
WeirdScienceRecap
1.Freeyourselftomake“badart.”
2.Workontheedgeofyourskillset.
3.Maketheworkyouwanttobehiredtodo.
4.Keepworkingonyourpersonalprojects.
5.MakeaProjectExperimentationList.
6.Experimentwithtransitions.
7.Experimentwithmovement.
JamesLancettandSeanWeston,Directors,Overcast
Assignment:Experimentwithnon-digitalsourcesAnimationhastheabilitytotakeaudiencestocompletelyfabricatedworlds,butforsomecontentthereisapointatwhichtheseworldscanfeelabitairless.Anaudiencemayneedsomethingtogroundthem,withoutnecessarilyleavingtheworldyoucreatedforthem.Addingnon-digitalvisualelementsandtexturesfromthenaturalworldcanhelpmakeyourfilmmorevisuallyaccessibleandinfuseitwithakindofgrittyrelateability.And,let’sfaceit,itdoesn’thurttostepawayfromthecomputerandreconnectwiththerealworldforaminute.
Experiment:Beginanewprojectorexploreoneyou’realreadyworkingonforopportunitiesthatmightbeenhancedbytheanalogbeautyofgrittynature.Gathersomevisualelementsfromtherealworldandintegratethemintoyouranimatedfilm.Shootvideo;scanpaper,textures,orfabrics;takephotographs,etc.Beplayfulwithyourtools:Whipyourcameraaroundtocaptureweirdlights;scanyourfrecklesorarindoflemon;shootorigamiongreenscreen.Bringing“real-world”warmthandfamiliarityintoyourdigitalenvironmentscaninfuseyourimaginedworldwithamorerelatablefeelingthatcanbringawholenewinterpretationtoyourstory.
TheimageatleftshowsscreenshotsfromthefilmOvercastbyJamesLancettandSeanWeston.WhenIspoketoSeanabouthowheandJamesdecidedtomix2Dcharacteranimationwithreal-worldvideoforOvercast,hesaid:“JamesandIweretalkingaboutdifferenttechniquesofanimationduelingwitheachother.Atfirst,itwasCGversusstopmotionversus2Dhanddrawn…alllivingintherealworld.Wesoonrealizedwewereputtingabittoomuchonourplate.Sowewentalongthelinesofanout-of-work2Danimatedcharacterlivingintherealworld.Thestorylaterturnedintoadepressedcharacter,fedupwithhiscloudofdepression.”
Overcastisawondrousexampleofthevisualbeautythatcanbeattainedwhenananimatormixesdigitalandnon-digitalsources.Butperhapsmoreimportantly,itrevealsthewaydepthcanbeaddedtostorytellingbycombiningtheworlds.Giveitashot.
6.SoundIdeas
Getyouraudioandstoryinsync
Let’sbeginwithagameofFill-in-the-Blanks.Lightningstrikesandyou’llsoonhearthesoundof__________.Ababydropshispacifier;plugyourearsbecauseherecomes__________.Jay-ZstrutsonstageinBrooklynandit’sthedeafeningsoundof
__________.Theverynotionofsoundisthatit’sreactive,almostobedient,toaction.Indeed,allsoundsaretheresultofobjectsvibrating,andsoitfollowsthatwhencreatingyouranimatedfilm,soundshouldbetheresultofactionandemergeoutofexistingstory.Butthatconventionalwisdomseriouslyunderestimatestheenormouspowerofsoundnotonlytoaffectcurrentstorybutalsotopropelitforwardonitsown.YouhaveonlytocatchanepisodeofLooneyTuneswithBugsBunnytowitnesstheindeliblepowerofsound.BugsischasedintoadarkbearcavebyYosemiteSamandthescreengoescompletelyblack.Youhearscuffling,punches,andgroans.TheninthenextframeBugsstrollsoutofthecave,carrotinmouth,unscathed,andgrinningsmugly—butthefightingsoundspersist.WeviewersallknowthatYosemiteSamisstillinthatcave,verylikelyfistfightingwithanangrybear,anditain’tgonnaendwell…
It’saniceexampleofhowsoundalonecanpaintavividpictureofactionandcanpropelstoryforwardonablankscreen.Butthat’sjustawarm-up.Considerthefigurebelow.Aman’sterrifiedface—eyeswidelikesaucers.Let’saddtheeeriesoundofscreechingviolins,heavyfootsteps,thenthecreakingofadoorandcockingofahandgun—amurdererhasclearlyarrivedanddeathisonlysecondsaway.Sameimage;addmushyromanticmusic,thesoundofyoungladiesgiggling,andhigh-heeledfootstepsfollowedbythevoiceofashyyoungwoman,“Hello,Harold,youlooksoooohandsomeinyourbowtieandsuspenders.”Suddenly,ourmanisfarfrombeingmurderedbutisinsteadtotallylove-struck,onthevergeofablushingmeltdown.Finally,changethesoundtrackagaintoabuzzingalarmclock,thedistantsoundofmorningtraffic,andadogwhiningandwagginghistailagainstabedside(readyforhismorningwalk).Suddenlyouralmost-murderedlove-struckmanisnoneofthosethings—hehassimplyoversleptandislateforwork!
LetSoundLeadStoryInproduction,soundcanbeanafterthought,butwaitinguntilthemiddle(orafter)
animationtodetermineyoursoundtrackiskindoflikewaitinguntilthere’saminuteleftinthefourthquarterofapick-upgametosubinLeBronJames.Talkaboutamissedopportunity!Ichallengeyoutonotonlyconsideryoursoundtrackatthesametimeaswritinganddesigninyourproductiontimelinebuttoleadwithsound,usingitastheprimarycompassforyourstorytelling.YoumaybesurprisedatitsZeus-likestorypower(aslighteningfollowsthesoundofthunder!),andyourprojectwillglowfromthatuniquelyear-forwardapproach.
DiegeticandNon-diegeticSoundKarinFong,award-winningfounderofImaginaryForcesandacclaimedtitledesigner,isfondofsayingthatmusicandaudio“does80percentofthework.”I’mnotgoingtopromisethatthischapterwillhelpyoucomplete80percentofyourproject,butifyoufollowthestrategieslaidoutinthischapterIcanguaranteethatyourstorywillbestrongerasaresult.
Firstweneedtoclarifytheconceptof“diegetic”and“non-diegetic”sound(pronounceddaya-jet-ic).Putsimply,diegeticsoundcomesfromsourcesthatarevisibleon-screen(orimpliedbyactionoff-screen)andthatcomefromthephysicalworld:adog’sbark,acreakingdoor,mostdialogue(thatisnotintheheadofacharacter),andmusicwhosesourceyoucanseeinthescene—suchasfromamusicianoraradio.
Soundsdescribedasnon-diegeticaresoundswhosesourceneitherisvisibleonthescreennorhasbeenimpliedtobepresentintheaction.Soundeffectsthatarenotnaturaltoobjectsinthescene(asadtromboneplaying“wah-wah-wah”whenacharacterrealizesthey’vebeentricked),themusicscore(thatisnotcomingfromamusicianoraradiointhescene),andanyoff-cameranarrationordialoguethat’sgoingoninthemindofacharacter.Non-diegeticsoundissurrealtotheactionandyetaimstoenrichwhatishappeningon-screen.
Animationoffersahostofopportunitiestousebothdiegeticandnon-diegeticsoundandalsoprovidesmanyoccasionswhereonecanmorphintotheother.Forinstance,ababyiscryingloudly.Thosecriesarediegetic—youcanseethebabyandknowthatthey’reupset,evenasthecryinggrowsloudenoughtobreakaglass.Whatifyouaddasurrealemphasistothatbaby’scryandmakeitgrowlouderandmoreferociousandmorphitintothemightyroarofalionorthehowlofanambulancesiren?Nowyou’veaugmentedthestory;thebaby’scryissoloudandferociousitsoundslikealiontothosearoundit,anditonlytookasimpleswapfromdiegetictonon-diegeticsound.
Belowwe’llexplorethethreeelementsofsoundinanimationandmotiongraphics—soundeffects,music,anddialogue—withanearforbothdiegeticandnon-diegeticsound.Thechartaboveremindsyouofthechoicesyouhavewhencreatingasoundtrackforyourfilm:fromtotallynaturalisticdiegetic(baby’scry/bandplaying/dialogue)tosurrealnon-diegetic(lion’sroarfromababy’smouth/musicsoundtrack/narrationandinternalmonologue)toeverythinginbetween.Themediumofanimationcelebratescreativeflexibilitywhenitcomestosound,sotakeadvantage!
SoundEffectsAddingsoundeffectstoyourprojectcanbeablast.Whocanresistthehowlofawerewolfwhenaterrifiedcharacteriswalkingaloneinthewoodsatnight?Whatgoodisabrilliantideawithouta“ding!”foremphasis?Whateditorhasn’ttoyedwiththeplethoraofburpingcuesavailableatakeystroketoenhanceapost-sodadrinkingscene?Withsomanydeliciouspossibilitiesatyourfingertips,restraintiskey.Indeed,thefirststepinaddingsoundeffectstoyourfilmistomakealistofplaceswhereyou’dliketoaddthemandslashthatlistinhalf(attheveryleast!).Whilewell-placedsoundeffectsenhanceyourstory,theiroverusewillleaveafilmsufferingfromthelawofdiminishingreturns.Takethemuch-lovedcymbalusedtoheightendramaticmomentsin-scene.Averbalsparringbetweentwoslugscanbeclatteredwithcymbalsinanefforttoelevatethedrama,anditmightworknicelyforawhile.Butwhathappenswhenonesluggetssoangrythatitpullsoutadeadlysaltshaker?Addinganotherheightenedcymbalwillhavelostitsemphasisandwillcomeoffaslimp,whitenoise.
Aproficientuserofsoundeffectsisquitethepoet:Theyrequiregreatrestraintbutalsoaknackformetaphorandaloveofthesurreal.Afterall,whataresoundeffectsbutlyricaldipsintotheuniverseofthefantastic?Thesightofchildrenplayinginthestreettouchesagrumpyoldman,andthesoundofa“crackingiceberg”mayrepresentthemeltingofhisfrozenheart.Acorruptpoliticianiscaughtred-handedcommittingevilinfullpublicview,whilethesoundofsirensandhelicopterscirclingmayembodythefeelingthatthereisnoescape.Awomanisstruckbycupid’sarrow,andchirpingbirdsmaybestrepresentherfeelingsofromanticaffection—ormaybeherheartliterallysingsABBA?AC/DC?Pavarotti?Whateverthescenariooryourtakeonthatmetaphor,whenyouaretemptedtouseanaturalistic(diegetic)sound,firstsearchyourpoet’ssoulforasurrealsoundthatmightembodywhatyou’retryingtoexpress.Itmayjustcapturetheemotionyou’rereachingforinamoreexpressiveway,andyouraudiencewillappreciatethatpoeticreach.
MusicassoundeffectsSoyou’vegotyourtrimmedlistofsoundeffectsandtheperfectmetaphorsforthoseopportunities—youare,infact,readytoreceiveyourPulitzerPrizeforPoetry.Butbeforeyoudeliveryouracceptancespeech,considerthatsomeofyoursoundeffectsmightnothavetobe“effects”atall.Theycouldinsomecasesbemoreeffectiveasmusic,especiallymusicderivedfromthesoundtrackthatyou’vecreatedforyourfilm(whichwediscussnext).ClassicexamplesofusingsoundeffectsderivedfromsoundtrackarethefamousscreechingviolininHitchcock’sPsychoshowerscene;theominouspianodun-dunfromSpielberg’sJawswhenthemega-sharkapproaches;theplayfulsoundofapiccolointheclassiccartoonTom&Jerrywhenthemouseevadesthecatwithhisquicklittlefootsteps.Borrowingsoundeffectsfromyourmusicscoreisagreatmovesinceitcangiveyoureffectsanorganicfeel,whilealsogivingyourentiresoundtrackthefeelingofsynthesis—notaneasytaskwhenselectingsoundsforanentireanimatedfilm.
NoteonFoleySound
Scoresofsoundeffectslibrariescanbeaccessedonlineforfreeorforasmallpurchase,andthechoicesmayseemoverwhelming.ButIimploreyou:Donotdependonsomeoneelse’ssoundtoexpressyourstoryideas.Youcanmakeyourownsoundsthataremorespecifictoyourvisionwithasimplemicrophonesetup.RecordingyourownFoleysoundeffectsallowsyoutocreatetheexactsoundsthatyouhearinyourheadandnotsettleforanear-match.Foleysoundisyoursound,sowhyleavesuchanimportantaspectofyourprojectinthehandsofsomeoneelse?
MusicWeallknowhowimportantawell-thought-outmusicscoreistothesuccessofyourproject.Morethananyotheraspectoffilm,musiccandeterminetheemotionaltenorofstory,setrhythmforscenes,andguideanaudience’sjourney.Luckily,musicismalleable.Youcanorchestrateitsoelegantlywithyourstorythataudiencesmaybarelyevennoticeit’sthere.Oryoucanputitfrontandcentertoannouncethemoodchangesandexpresstheoverallattitudeofyourpiece.WhatwouldShaftbewithoutIsaacHayes’funkyanthem?WherewouldFantasia’sdancingbroomsbewithoutTchaikovsky’sSorcerer’sApprentice?WhoisDarthVaderwithoutthefamouslyominoussoundtrackthataccompanieshimintoeveryroom?
Solet’sgetdowntobrasstacksandestablishsometoolsforusingmusictoenhancestoryinyouranimatedproject.Warning:Followthesetoolsandyoumayneedaten-piecefunkbandtoblastyourthemesongwheneveryouwalkintoascreeningofyourfilm…
Scoreto“theme”HeadwaybacktoChapter1ofthisbook(“Pre-production”)whereyouidentifiedthethemeandemotionaltenorofyourproject.Now,ifyoucouldchooseonesongthatencompassesthatthemeandemotion,whatwoulditsoundlike?Atriumphantrocksong?Lonelybluesnumber?ChaoticfreejazzjamalaOrnetteColeman?Findthatsong(orcreateit)tostylethethematicbasisofyourmusicsoundtrack.Thisstageiscalledbuildingatemp(temporary)track.Bewarned,don’tgetmarriedtomusicyoucan’tgettherightsto.Thepurposehereistoestablishthefeelingyou’relookingfor.Usethattrackasaguidetodiginforothersongsthatmightrepresenttheemotionofvariousscenesinyourproject.Ifyouchoselonelybluesasyourtheme,digoutthathappyB.B.Kingsongforwhenyourcharacterisfinallycuredofhis/herloneliness.Next,lookfortracksthatbestrepresentyourmaincharacters,aswellasforsituationsthatmayberepeatedinyourstoryline.Thesesongswillhelpyoudefinethethemeandtoneyousetouttoachieve,andshouldinspireyoutocreateoracquirefinalsongsthatyoucangetrightsto.
Considerthemusicof“silence”I’mnotjusttalkingabouteliminatingmusicaltogether.Certainly,youshouldalwaysaskyourselfifasceneneedsmusicandthenleaveitbareiftheanswerisno.Lessismorewhenitcomestomusic.Butthereisakindofmusicsoundtrackthatcanfeellikenomusicatalltotheaudiencewhilestillprovidingapowerfulemotionalpushtoascene.Atmosphericmusic,sometimesrepresentedbyastripped-downhumfromyoursoundtrackorasubtlerhythmicdrone,cangiveasceneaddedpersonalitythattheaudiencemaynotevenperceive.Theprimaryadvantageofusingthisquietmusicisthatitfeelslikeabreatherfortheaudience,atimeduringwhichtheycanexperienceyourstoryontheirown,whilestillgivingthemtheslightestnudgeintoyourintendeddirection.Goodsounddesignissaidtobeundetectable,andsilentmusicprovidestheperfectopportunitytointegrateyoursoundtrackseamlesslywhilestillelevatingyouremotionalenvironment.
ScoreagainstPerhapsthemosthorrificsceneIhaveeverwitnessedisinQuentinTarantino’sclassicfilmReservoirDogs.Ahitmanisabouttocutofftheearofamanhebelievestobeapoliceinformant.It’sabrutallyviolentmoment,andanyotherfilmmakerwouldhavethrowninagruesomesoundtracktomatch.ButTarantino,inanintentionalstrokeofgeniusthatepitomizesscoringagainsttheactioninascene,hasthehitmanflipontheradiofromwherethewhimsical70spopsong“StuckintheMiddlewithYou”blastsout.Thehitmanjoyfullyskipsaroundtheinformantheplanstodisfiguretotheupbeattune,whichmakesthewholeexperiencesomuchmoredisturbing.Thiskindofcontrastingmusicchoiceplacestheaudienceinanuncomfortablespotandalertsthemthatsomethingtotallyoff-kilterishappening,sokeepyoureyeswideopen.Justmakesure,likeTarantinodid,thatyoupayoffthatpromisewhenyousignalitsarrival.Though,there’snoneedtoloseanearoverit…
DialogueTimetosummonstoryguruRobertMcKeewiththislittlegemfromhisseminalworkStory:“Thebestadviceforwritingfilmdialogueisdon’t.”Asananimator,you’recreatingaprojectinthemostvisuallydexterousartforminexistence;ifyoucan’tfindawaytoexpressathoughtvisually,thenyouhaven’ttriedhardenough.However,ifyouhaveexhaustedallelseandmustusedialogue(admittedly,I’masuckerforsomegooddialogue),hereareafewstepsyoucantaketomakesureit’sawesome.
Firststepistomatcheverylineofdialoguetothepersonalityofthecharacteryouhavespeakingit.Eachlineshouldaimtofurtherreinforcethetraitsyou’vegiventhemandclarifythosetraitsforyouraudience.Ifasuper-egotisticalwizardisaskedherprofession,“Iamawizard”seemslikeamissedopportunity.Howabout:“Googleme,”or“I’vealreadysewedtheanswertothatquestionontotheinsideofyourtrousers.”Onceyourscriptiscomplete,youshouldbeabletocoverupthecharacterheadingsandreadthroughknowingexactlywhichcharacterissayingwhichlinesinceonlytheycouldpossiblysaysomethingsovery“them.”
Secondconsiderationwhenwritingdialogueistomakeyourcharactersspeakinasnaturalisticawayaspossible.Inreallifepeopleinterrupt,veeroffintoodddirections,use
slangandmalapropismsconstantly.Rarelywhenamancomeshomeafterahardday’sworkis“Hi,Honey,I’mhome”hisfirstutterance.Nordoeshisspouse(intherealworld)say“Welcomehome,Darling,letmetakeyourcoat.”Morelikelyhesighsloudlyashekicksoffhisshoes,mutteringbitterlyaboutalatetrain,afterwhichhisannoyedspousesays,“Leftoverpizzainthefridge.Wecouldn’twait.Oh,andyourmothercalledagain.Shewantstovisit.”
Onesurefirewaytokeepdialoguenaturalisticistoindulgeinthefineartofsubtextinyourdialogue—textwithasuggested,subtlemeaning.Peopleuseitallthetime,itcanbeveryfunnyifusedright,and(moreimportantly)dialoguewithsubtextforcestheaudiencetofollowyourstorymoreattentively.Inascenewhereonespacealien(Zork)isjealouslycompetitivewithaneighbor,youdon’twanthimtosay,“MyX-5spacecruiserisfarlargerandmoreimpressivethanyours!”BetterthatZorkleansoverthehedges,eyestheotheralien’s(Gaxx)smallervehicleandgrins,“Cutespacecruiser.”Gaxx,whoisequallycompetitive,mayreply,“AlmostboughttheX-5,butit’sknownasthecruiserdivorcedmenbuytoover-compensateforsize.”Subtextisdelicioustouse,ittendstoloosenupdialoguethatfeelstooonthenose,anditgivestheaudiencefunplay-alongwheretheyhavetofigureoutwhat’sreallybeingsaid.It’samoreinteractiveandcleverwaytowrite.
Finally,usedialoguetosetthemoodofyourscenes.Inatensemoment,peopletendtospeakinshorter,clippedsentences.Saysthebouncertoacoupleofthugs,“Out.Bothofyou.Now.”Inmorelightheartedmoments,peopletendtospeakinanalmostmusicalway,oftengoingoverboardwithdetails.“Wewereoutallnight,andyouknowHenry,he’ssoloud,screaming,‘It’smybirthday,It’smybirthday,’theneighborswe’repoundingonthewallandhekeptyellingatthetopofhislungs,noneofuscouldstophim,soIjustgaveintothechaos.Mitchlaughedsohardhespitouthisbirthdaycake!”
FYI,ifyou’rewritinginternalmonologue,theseguidelinesarejustasimportant.Theinsideofyourcharacter’sbrainisacharacter,too,anditneedsallthepersonality-drivennaturalistictraitsthatallcharactersdo.
Narration/VoiceOverforMotionGraphicsWhileincharacter-basedanimationyoucanchoosewhetherornottolockyoursoundscriptbeforeanimating,inmotiongraphics,whereaclientoftenhasaspecificTRT(TotalRunningTime)foryoutohit,thereisnochoice:Youmustlockscriptandlaydownaudiobeforeanimationbegins.It’sforthatreasonthatwhenwritingamotiongraphicsscriptyourbestfriendsareclarityandbrevity.Yourscriptmustbesosimplethatthereisnoroomformisinterpretation,andbriefenough(giventhetimelimit)thatthereshouldexistnowordsexceptthoseabsolutelynecessarytogettingyourpointacross.
RichardE.Cytowic.TED-EdLessonsWorthSharing,Whatpercentofyourbraindoyouuse?
Thatmaysoundrelativelyeasy,butthere’sanadditionaljugglingacttopulloff:Whilecraftingyourwrittenmessageyoumustbesimultaneouslyconceptualizingtheimagesandthesequencesthatyouthinkwillbestmatchyourwords.Thismentalstoryboardingisthekeytowritingnarrationthatwillworkinthefinaleditofyourpiece.Sowritebriefandwriteclear,butalsowritevisual.
Afterafinal-lockeddraftiswritten,itshouldbeperformedandeditedmultipletimestogetasenseofhowit’stimingoutandwherethenaturalrhythmofthepieceisgoing.Youmayfindthatitneedstobesloweddown,andlinesneedtobemodifiedandremovedtostaywithinyourtimelength.Testingitoutwillalsoprovidecluestowhereeffectsandmusicnaturallyfall.
Onceyourscriptisrecorded(tightasabeartrapandclearasthebluestsky),youshouldmoveontodeterminewhatmusicmightbeplayingbefore,during,andafterthenarration.Perthemusicsectionofthischapter,youknowhowimportantmusicistotoneand
rhythm,andthemusicshouldcomplementnotcompetewiththenarrator’svoice.AtthelatestMotionographerF5conference,directoranddesignerPatrickClairsaidaboutinformationalmotiongraphics,“Thepaceofthevoicedrivesthings,typesitsatthecenter,anddesignisthespoonfulofsugarthathelpsthemedicinegodown….”
Finally,it’stimetomoveontodesignandanimation.Thereareinfinitewaystogoaboutdesigningyouranimationtosupportyourcopy.Askyourselfhowtypography,icons,characters,photographs,andvideomayfittobesttellyourstory.TED-Edhascreatedover120,000beautiful,fascinating,educationalshortanimatedfilmsthisway.TheTED-Edanimatedlessononthepreviouspageshowshowimportantitistokeepimagescleanandsimpletosupportscientificcontent.Asalways,thebigideaandmessagewilldeterminethemediayouchooseandhowitwilllook.Formoreinspiration,checkthemoutonlineated.ted.com.
AFinalWordonTimingAstheysayincomedy,“Timingiseverything,”andit’sjustastrueinanimation.Noneofwhatyou’vejustlearned—whetheritbeabouteffects,music,ordialogue—willworkwithoutakeeneyeontiming.Youwillquicklylearnthatplacingasoundeffectormusiccueafewframesoffcouldbethedifferencebetweenanemotionallysatisfyingsoundandonethatdistractsorworksagainstwhatyouweregoingfor.Witheachcue,soundeffect,orbitofdialogue,carefullyconsiderifitsplacementpacksthemaximumemotionalpunch.Oftenanudgeinonedirectionoranothercanprovidethatbeautifulrushofdopaminetothebrainthatreallymeans,Wow,niceuseofsound!
SoundIdeasRecap
1.Letsoundleadstory
2.Diegeticandnon-diegeticsound
3.Soundeffects
4.Musicassoundeffects
5.Music
6.Dialogue
7.Narration/Voiceover
8.Timingiseverything…
Assignment:ExperimentwithsoundSelectasignificantmomentfromasequenceinoneofyourstories,orfindascenetodownload.Storyboarditoutindetailandimportyourframestoavideo-editingprogram.Experimentwithatleastfivedifferentmusiccuesthatemphasizedistinctiveemotionaltonesforthestorybeat.Don’tforgettotryscoringagainststorywithunexpectedmusic.Nowdothesamewithsoundeffects,lookingfordifferentwaystomakethemomentinyoursceneresonate.
7.DesignWonderland
Worldbuildingandenvironmentaldesign
Improvcomedyhasagoldenrulethatcanbesummedupintwosimplewords:“Yes,and.”Yes,andmeansthatnomatterhowridiculousanideaoneplayerintroducesintoacomedicscene,theothersmustacceptitasfactandevenexpandonitsauthenticity.Soifaspasticimprovplayerpointstotheskyandsays,“Look,agiantcarrot!”theotherplayersonstage
mustimmediatelyreact.Thegiantcarrotsimplyexistsinthisworldthemomentit’sintroduced,andunlesssomeoneelseintroducestheideathatgravityworksdifferently,thenthegiantcarrotintheskyisverylikelycareeningdowntowardsthem.Ifaplayerdoesn’tjumpoutofthewaythey’llbecrushed.Ifthey’recrushedthesurvivingplayersshouldlookdownattheirdeadfriendandmourn;orrunawayworriedthatanothergiantfallingcarrotmaybeonitsway;orfeelpeckishanddecidetodineonadeliciouscarrotsnack.
Animationallowsyoutocreateanycrazychaosyouwant(includinggiantfallingcarrots),and,asyou’veseeninpreviouschapters,that’sjustpartofthemedium’smagic.Audienceswillbeeagertoexplorewhateverbizarre,newenvironmentsyoucreate.Butonceyouintroduceyourworld(andallofitsstrangerules),youmustcommittothemfullyorrisklosingthataudienceforever.YourhumancharacterhaslostherglassesinaworldofCyclops?Makesureit’sverydifficultforhertofindanewpairsincetheopticianssellonlymonocles.Createdanenvironmentthatiscompletelyupsidedown?Sleepingbatsshouldstandupright.Familiesliveinmarshmallowhouses?Thereshouldbeaslightbounceintheirstepsonthewaytothekitchen.
Committingthesinofgoingagainstthewildlogicofyourworldmeans“continuityissues,”andthatisthequickestroadtohavingyourstorylosecredibility.Saysaward-winningfilmmakerandeducatorBrookeKeesling,“Continuityissuesareamajorpitfallofcreatingnewenvironmentsinanimation,soartistshavetobeextracarefultosticktotherulestheyhavecreated.Thisisespeciallyimportantinbigstorymoments—it’scriticalthatstoryagreewiththerulesyou’vesetup.”
Theaudiencewillfollowwhateverwackinessyouthrowatthem,andthey’lltakeitveryseriouslysolongastheyfeelthatyou’redoingthesame.Butoneslip,onetinycontinuityoops…andit’sover;youraudiencewillloseinterestandvamoose.Sowhenyourgiantfallingcarrotappears,jump!
DesigningtheRulesSohowdoyoucreateaninteresting,consistent,andbelievableanimatedworld?Whatisthebestmethodformakingitfeelauthenticevenasyou’returninglogicupsidedown?First,establishtimeandplace,andthendotheworktodefinethephysical,social,andvisuallawsthatexistthere.These“laws”willprovideaconsistentfoundationforwhateverfar-flungchaosyouenvisionandwillhelpgiveyourworldasenseofauthenticityandverisimilitude.So,let’sgettowork.
SiriratYoomThawilvejakul,IntoMisterSharky’sMouth
YourWorld’sTimeandPlaceAnimatedenvironmentscanrangefromreal-worldsettingstoamixtureofrealityandfantasytofull-onfantasy.Whateverdirectionyouchoose,you’llneedtogiveyouraudienceaclearsenseoftimeandplace.Whendefiningwhaterayourworldmayexistin,thinkcarefullyabouttechnologyandotherfactorsthatmayvarygreatlyacrossthedecades.Choosethetimeandtheplacethatwillhelpcreatethebeststory,andfillyourenvironmentwithdetailsthatwillfacilitateinterestingconflictsinyourstory.
Takethestoryofaheartsickbugthat’stooshytoexpresshisfeelingstoaladybugwhoisleavingtown.Ifyourenvironmentisdesignedtobeliketheundergroundtunnelsofanantcolony(setahundredyearsinthefuture),thenyourpiningprotagonistwillhaveahardtimefindingtherighttunneltocatchtothe“super-fastflyingspacebus”thathistruelovehasjustboarded.Thedetailsoftimeandplaceworktoelevatethestory’sconflict—thelove-struckbugmustexpresshisfeelingstotheladybug—butyourworldisprovidinganorganicroadblock.
CodyWalzel,Breadheadsconceptart
Timeandplacearethefirstimportantdecisionsyou’llmakeincreatingyourstorywonderland.Choosewellsincethatdecisionprovidesthebackboneoftheworldwheretheimportantphysical,social,andvisuallawsaretobeestablished.
YourWorld’sPhysicalLawsOnEarththerearecertainindisputablephysicallawsthataresomuchapartofourdailylivesthatwetakethemforgranted.Abrickwillfallfasterthanafeather;apotofwaterwillboilat212degreesFahrenheit;thesunwillalwaysrisefromtheeast;andsoon.Iencourageyoutostudythesephysicallaws—theywillnotonlyhelpyouunderstandhowthingsworkinourenvironment,butthey’llprovideyouwithareferencetoturnEarth’sphysicallawsdirectlyontheirheadwhenyourtimecomestodoso.Sure,waterfreezesat32degreesFahrenheitonthisboringplanet,butwhatifyourworldexistsbetweenthehairfolliclesofamysticalbeast;orfloatsinadistantgalaxy;oriswedgedbetweenthecrustsofatunasandwicheatenbyancientgods?Atwhattemperaturewouldyouhavewaterfreezeinthosescenarios?And(justasimportantly)isitevenworthyouconsideringachangeinthatparticularphysicallawatall?Theanswertothatquestionrestsonwhetherornotcreatinganewphysicallawwillenhanceordetractfromyourstory.Putplainly:Don’tjustdoitbecauseitseemscool.Doitbecauseit’smeaningfultothetellingofyourstory.
WarnsBrookeKeesling,“Becarefulwithoverlybusyoroverlydescribedenvironmentsunlesstheyarecontributingtothestory.Sometimesanenvironmentisthestar,orkindofthekeycharacter,andsometimesitisjustdistracting.Eventhemostamazinglyinventiveenvironmentscanruinastoryiftheycompetewiththemaincharactersanddiffusethekeyideasofthestory.”
SterlingSheehy,ConceptArt
SterlingSheehy,DragonConceptArt
YourWorld’sSocialLawsOnEarth,abunchofmen(andsometimeswomen)gottogetherandmadeupabunchofrulesforcivilizedsocietytofollow.Alotofthelawsarebasedonreligiousvaluesandareaimedathelpingtherichratherthanthepoor(…but,that’sjustoneanimator’sopinion!).Sowhynotcreateanewsetofsociallawsandnormsforyourworld?Whynotshakethingsupsolongasitaidsinthetellingofyourstory?Maybebabieshaveallthepoliticalpower;perhapsinsteadofjailtimeallcriminalsmustbakegiantcupcakes;schoolisnowrecessandkidsrunoutsideatbreakexcitedtostudymath;dogswalkobedienthumansbeforeheadingofftowork.
MuchlikewithEarth’sphysicallaws,IencourageyoutodigintoEarth’shistory—abunchofmind-bendingsocialnormshaveexistedinvariousplacesintheworldthatmayprovideyouwithinspirationforyourinventedworld.Barringtheexistenceofthosenormsyou’dliketokeep,thesky’sthelimit!Makelifebetterorworse,orstrangereven,foritsinhabitants,andtakeadvantageofhowthosenewsocialnormscanenhanceyourstory.
Takeourlovelornbugwhohasfinallycaughtupwiththeladybugofhisdreamsandpouredhisheartout.Romanticcomediesusuallycallitadaythere—theladybugwilleitherrejecthisproposalorfallintohismanyarmsandbuzzoffintohappilyeverafter.Butwhyendthereifyourworldhasadifferentsetofsociallaws?PerhapsinyourworldaladybugonlyacceptsaproposalonceamalebugperformsanElvisimpersonationof“Don’tBeCruel.”Orlet’sflipgenderrolesandsaythatinyourworldonlyladybugscanproposeandit’sthemalebugwhohastofirstcatchthebusandthenconvincetheladybugtopropose!Sure,Elvis-onlyproposalsseemweird,butnoweirderthantheactofhumansbendingontheirkneesandpresentingapieceofjewelry.
BeinspiredbynatureIfyourequireinspiration,looknofurtherthanoursuper-freakynaturalworld.Didyouknowthatthere’sabirdcalledthered-cappedmanakinwhosematingritualincludesthemalehavingtoperformabackwardsdance(muchlikethemoonwalk)beforesheacceptshim?Andthemalehoodedsealattractsmatesbyinflatinga“nasalballoon”intoapinkbubblegum-likebulbuptothesizeofabowlingball(gross!).Fortheprayingmantis,itgetsstraightupcannibalistic:Aftermating,thefemalemantisgenerallybeginsconsumingthemalealive!
Theworldweliveinisplentyoddwhenitcomestosocialnorms,andforthemostpartwefollowalonglikesheep!Sowhynotinventyourownsetoflawsandsetyourcharactersfreetoexperiencethem?You’llbesurprisedwhatkindoflunacyyouraudiencewillfollowalongwithaslongasyouremainconsistent.Solookthataudiencestraightintheeyeandsay,“Thisishowitgoesaroundhere,sobetterbrushuponyourElvis.”
YourWorld’sVisualLawsThesuccessofyouranimatedstorydependsonthetonesetbyyourvisualworld.Space,line,shape,color,contrast,andtextureareallvisualaspectsyoucancreatelawsforasameanstoenhanceyournarrativeanddistinguishyourstoryfromothers.
Perhapsourlovesickbugsareakindoffireflythatlightsuponlywhenthey’rewiththeir
trueloveandthereforethefilmbecomesbrightandcolorfulwhenthey’retogether.Ormaybeyou’recreatingafuturisticworldrunbyevilsmartphones?Youmightdecidetousedesaturatedcolors,limittheuseofanyorganicforms,andusemostlyhardedgesandgeometricshapestoreinforcearobot-controlledenvironment.Doingamysteriousdetectivestory?Perhapslimityourpalettetoblack,white,andgrayswithsmallpopsofcolorwhencluesarerevealed.Maybetheshotsinthedetective’sofficearecomposedofonlyrightanglestoshowthedetectiveisincontrol,whileoutinthefieldtheshotsarecomposedofonlydiagonallinestocommunicatethathehaslostcontrol.Consistentandmindfulvisualchoicesmadewhendesigningyourenvironmentwillstrengthenyourstory.Somakealistofgroundrulesandstickwithyourvision.Audienceswillappreciatethefreshtakeandmayevenlaudthisuniquestyle.FeelfreetotellthemthatyouwereinspiredbythepoetryofBeaudeliereandnotthatyounerdilytapedyourvisuallawlisttoyourcomputer.Uptoyou!
OnMotionGraphicsandBrandingSincemostmotiongraphicsuseuniquelybrandedproducts,identities,orlogosinplaceofeasilyidentifiablehumanoranimalcharacters,it’sevenmoreimportanttocreatedistinctvisuallawstocaptureanaudience’sattention.Brandsareproducts,services,andofferingsthatareorganic,breathingentities.Onceyou’vestudiedthecorevaluesofthebrand,youcanbegintodesignaworldaroundit.
KimDulaney’saward-winningopeningtitlesequences(atright)fortheOFFFInternationalFestivalforthePost-DigitalCreationCultureisarichandelegantworldbuiltaroundaveryinterestingbrandandsomeveryinterestingideas.Dulaneyexplains,“Theconceptwastofindabalancebetweennatureandmachine,alongwithformsinnaturethatsymbolizedstrength.”Thevideointerestinglyexplorespeculiarspacesfusingthenaturalandartificialandfeatureshybridanimalsthataftercloseinspectionrevealwires.Intheend,theaudienceisunabletodiscernwhatisanimalormachine,naturalorsynthetic.ThiselegantlyexpressesthevaluesandideasoftheOFFForganization.
KimDulaney,Leadartdirector,designer,andillustrator.OFFFOnlineFlashFilmFestivaltitle.CreativedirectionbyJeffStevens.ProducedatTheMill
DesignWonderlandRecap
1.Designconsistentrules
2.Definetimeandplace
3.Considerphysicallaws
4.Considersociallaws
5.Definevisuallaws
6.Motiongraphics—explorebrandvalues
7.Motiongraphics—establishvisualrules
Assignment:DesignandtestyournewworldFollowingtheitemslistedinFictionalWorldBuilding(atright),establishtherulesofafictionalworld.Onceyou’vedesignedyourworld,Iencourageyoutothrowinsomeconflictthatwillactasastresstestfortherulesofyourworld.
Unleashaflyingbabyoragiantspider;makeeveryonebillionaires;throwinalunaticwithagunthatshootsbubblegumandeveryoneiscoveredinmoundsofchewinggum!Throwyourselfmultiplecurveballstotestthelawsofyourowncreation.Ifthelawsstillholdupafterthat,you’regood!
Note:Asyou’reestablishingrulesforyourworld,youmaywanttodosomesketches.Thisiswherestorytelling,scriptwriting,anddesignshouldcometogetherseamlessly.Sincethemagicandrulesofthephysicalworldareoftenwhereinterestingconflictscomefrom,youmayneedtogobackandforthbetweendesignandwritingtogetyourworldfeelingright.
8.Technique
Marrystyleandstory
Hereweareatthefinalstopbeforeanimationbegins!I’llbetyoucanalmostfeelthosepixelsdancingasyourbabyfinallycomestolife.Farbeitfrommetoslowamovingtrain,butit’smydutytoaskonelastquestionhere,onethatIurgeyoutoconsidervery
carefully:Haveyouchosenthebestanimationtechniquetotellyourstory?
Iknow,youlove3D;you’reawhizatAfterEffects(andhaveashelffullofawardstoproveit);yourhand-drawnanimationisunparalleled;andsoon.Itcanbedifficulttodeviatefromyourbest-knownandlovedtechnique,andit’seasytoconvinceyourselfthatyourmost-practicedtechniqueistheonlywaytotellyourstory.Animatorstendtogetespeciallydefensivewhenthenotionofusingatechniquetheydon’talreadyknowrearsitsuglyhead.“Afterallthatwork,youwantmetolearnWHAT?!”
NotexactlywhatI’masking.Isimplydon’twantyoutooverlookanessentialdecisionregardingacrucialelementofvisualstorytellingbecauseyoudon’tknowsomesillycomputerprogram.Selectingtherightanimationtechniquecanbethekeytoexpressingyourbigidea,canamplifytheverysoulofyourstory,andifusedinventivelycansetyourprojectapartfromtherest.Itshouldbenotedthattherearemanysuccessfulanimatorsandstorytellerswhospendtheircareermasteringandexpressingthemselveswithonetechnique.Thekeyhereisthattheychoosetotellthekindsofstoriesthatarebestsuitedforthatspecifictechnique.
ConsiderwhatApple’siPodcommercials(2003)wouldhavebeenwithoutpared-down2DmotiongraphicsorChipotle’sfilm-turned-advertisementBacktotheStart(2011)withouttheinnocentandcharming3Dstopmotion?IsitevenpossibletoimagineHayaoMiyazakimasterfulfilmsarticulatedinadifferenttechniquethanhanddrawn?
Successfuldirectorsbelaboroverwhichtechniquestheyuseineachproject,andsoshouldyou.Choosewrongandyourfilmmayfeellikeyou’redrivingwithsquarewheels;chooserightandyou’reglidingdownthefreeway.
FindingaPerfectMatchLaterinthechapterwe’llexplorehowtoadaptyourfavoriteanimationtechniquetocapturetheessenceofatechniquethatmightbettersuityourstory.Butfornowlet’stacklethebigquestionbyre-exploringyournarrativeandalsotakingalookathowcontentisviewedtoday.
ConsiderFormatFirstthingtoconsiderwhenchoosingananimationtechniqueishowitwillbeviewed.Thisusedtobeprettysimple—afilmwasenjoyedintheatersorcommercialswerewatchedonTV.Buttechnologyischangingbytheminute,makingscaleacriticalandevolvingconsideration.Certainly,moreandmorecontentisbeingviewedonsmallcomputerscreens,tablets,phones,andeven(gasp!)watches.Youshouldbereadyfortheveryrealpossibilitythatyourbig-screenmasterpiecewillbeenjoyedonasmartphone,soyou’dbetterchooseatechniquethatislegibleonthatformat.
Atthesametime,someformatsaregettingmuchbigger.Filmfestivalsandadvertisersarevideo-mappingonthesidesofbuildings,screensarebeginningtocoverbillboardsandcomplexesinurbanareaseverywhere,and“sky-screens”asbigas1,500feetarepoppingupinshoppingmallsfromVegastoBeijing.Onthesesuper-sizedformatsyou’llseefarmoretextureanddetail,soyourtechniquehadbetterstanduptoamagnifyingglass.
Intheend,youmustchooseyourtechniquetosuittheformatyoubelieveitwillbe
viewedonbymostpeople.Choosepoorlyandriskaudiencesmissingimportantelementsofyourstory,orevenspottingflawsinyourwork.Payheedtoformat,andyourprojectwillbeseenthewayyouintended:asanexpressionofyourhardworkandtalent.
PleaseNote
Forsmallerformats,“vector”graphicsand2Danimationwithhighercontrastreadwell.Theyarecleanandclearandexcellentforcommunicatinginformation.Forextra-largeformats,youcanchoosefromavarietyoftechniques,butkeepinmindthatyourdesignwillbeblownupexponentially(aneyelashcouldendupbeingseveralstorieshigh!).Souselotsofdetailandtexturetokeepallthatscreenspaceinteresting.
TranslateYourStoryThemostimportantconsiderationwhenchoosingananimationtechniqueforyourfilmisallaboutstory.Youwanttofindthetoolsthatstrikeatyourstory’smetaphoriccorebystayingtruetothemessageandthetone.Youmaywanttoheadbacktoyourcreativebrief(seeChapter1“Pre-production”)toremindyourselfofhowyouwantaudiencestodescribeyourprojectwhenallissaidanddone.Forexample,ifyou’regoingforsomethingcomedicwiththefeelofaparody,youwanttochooseatechniquethathasbuilt-inirony.Stopmotion,oritsdigitalcounterpartAfterEffects,workswellforoffbeatcomedy.Youmaywanttoavoidtechniquesthatcancomeoffasmoodyortoonaturalistic,likehand-drawnor3DCGI(computer-generatedimagery).
ThenowiconicMadMenopeningtitlesusedamixtureoftechniquesthatsonaileditstoneandmessagethatitseemsalmostinevitable.Thecreatorswantedtoexpressthecomplex,desolateworldofNewYorkCityadvertising,bothglamorousandisolating.Usingflat2Dsilhouettesofafallingman,theyachievedanominous,noirmood.Thefallingmanappearsagainstshinybuildingscoveredinperfectplasticadvertisingphotosfromthe60sandcapturesthedichotomyofDonDraper’sworld:idealizedappearancesversusstarkemotionaldespair.Thedesignisminimalistandsparse,shortondetailsothattheeyefocusesonthefallingman.Certainly,thesequencewouldhavefelttoofarremovedfromrealityifahand-drawntechniquehadbeenutilized,andtheworldwouldhavebeentoosingularlyslickwithonly3DCGI.Thecreatorspickedjusttherighttechniquestofittheirstory,andsocanyou.
Belowisalistoftechniquesandstylesyoumayconsiderforyourprojectandadescriptionofhowtheycanenhanceyourstorytelling.Feelfreetochoosemorethanone,sinceapartnership(likeinMadMen)maybethebestchoice.
Animation/MotionGraphicTechniques+Styles
HandDrawnHand-drawnanimationcanbeexecutedwithavarietyofmaterials(suchaspencil,paint,ink,andcharcoal),withstylesthatrangefromtraditionalDisneycelanimationtorotoscoping(tracinglive-action)toamorefinearthand-drawnapproach.Purposelylooserhand-drawnstylesarefrequentlyseeninindependentfilms(seeDonHertzfeldt,FrédéricBack,JuliaPott)andlendthemselvestomoreexpressive,emotionallydrivenstories.Celanimation,meanwhile,canachieveaclean,almostcommercialfeelthatworksespeciallywellforchildren’sentertainment.
StopMotionStopmotionanimationhasboth2Dand3Dversions—similarintechniquebutdifferentinhowthey’reshot.Botharecapturedwithacamera,shootingframe-by-frame,whileobjectsaremovedincrementallyinbetweentheframes.Thelimitedmotionthatresultsgivesstopmotionfilmsaquirkyandmagicalqualitythatisstillverypopulartodaydespitetheavailabilityofmoreadvancedtechnology.
2Dstopmotionisshotwithacameraheldoveraflatsurface(lightboxesareoftenusedforsand,oil,paint,orpapersilhouettes).Thistechniquegivesaflat,handmadequalitytofilmsthatisemotionallyexpressiveandveryadaptable.2Danimationwithpapercutoutscanfeelquirkyandcomedic(seeTerryGilliam’sMontyPython)butalsoelegantanddream-like(seeLotteReiniger’ssilhouettepuppets).2Dstopmotionwithsandorpaintcanfeellush,moody,andatmospheric(seeCarolineLeaf’sTheStreet).2Dstopmotiontechniquetendstohavealotofpersonalityandworkswellifyouwantyourfilmtohaveaflat,handmadequality.Pleasenote:Theprinciplesandpracticesof2Dstopmotionnaturallytranslatetoa2DCGIenvironment.
3Dstopmotionutilizesatripodtoshootincrementallymovingobjectsona“set.”There’sahugerangeofobjectsthatcanbeanimatedusing3Dstopmotion,includingpuppets,models,clay,foundmaterials,andpixilationofhumanpuppets.3Dstopmotioncanfeel
asnaturalisticasCGI(seeHenrySelick’sCoraline)butcanalsomaintainaquirky,handmadequalitydependingonthematerialused.“Foundobjects”canfeelespeciallypoeticwhenusedin3Dstopmotionandtendtohaveahumorousormetaphoricaffect(seeJanŠvankmajerandPES).Pleasenote:Theprinciplesandpracticesof3Dstopmotionnaturallytranslatetoa3DCGIenvironment.
2DCGI2DCGIisanimationthatiscreatedinaflatortwo-dimensionalsoftwareenvironment.Thistechniqueisclean,ishighlyscalable,andreadswellfortype,whichiswhymostbroadcastgraphics(print,Web,andTV)aredonewith2DCGIanimation.Fornarrativefilms,2DCGItendstofeelwarmerandmoreinnocentthan3D,anditslonghistoryofuseinchildren’sprogramminghasanemotionally“relatable”feeling.2DCGIcanbemadeinmanysoftwareprogramsthatusebothbitmapandvectorimages.
3DCGI3DCGIisanimationthatismadeinathree-dimensionalsoftwareenvironment.Elementsaremodeled,rigged,textured,puppeted,andanimatedinavirtualspace.Theprocessissimilartostopmotion,withthekeydifferencebeingthatin3DCGIthereisnogravityandvirtuallynolimitations.Becausetherearesomanyoptions,itcanbethehardesttechniquetomasterandyethassomeofthegreatestrewards.3DCGIallowsyoutocreateenvironmentsandcharactersthatarealmostindecipherablefromreallife.Theimmensepowerof3DCGItocreatehyper-realisticworldsmakesitthetechniqueofchoiceforspecialeffects,videogames,andmanycommercials.
ConformorAdaptIdeallythechartshownearlierhelpedyouchoosetherighttechniquesandstylesforyourstory,andyou’reofftotheraces.Onceyou’vechosen,headtotheWebandresearchexamplesofthattechnique/styleinaction.Seekinspirationinwhatothershavedonewell,anddecideifthereisguidanceyoucangleanfrom…WAIT,what?Youdon’tknowthattechnique?Andyou’vegotnotimetolearnit??Noworries!YousimplyneedtodotheDarwinianthing:Adapt.
Saythataftersomesoul-searchingyourecognizethatahand-drawntechnique,specificallytheancientartofChinesecalligraphy,willworkbestforyourproject.Thatfluid,blackbrushstrokewillsellyourideabeautifullyandnailyourtone.Andyetyouhavezeroexperienceinhand-letteringandcanbarelyfindAsiaonthemap!Don’tpanic,you’resimplyontheroadtofindinganadaptation.
Firstthingtodoisidentifythedefiningcharacteristicsofyourdesiredtechnique.InthecaseofChinesecalligraphy,thisisblackbrushstrokeswitha“liquid”quality.Nowheadbacktothemediumyou’remostcomfortablewith.Researchtools,plug-ins,andtutorialstoseeifthere’sanywaytoachievethedesiredeffectwithinyourfavoritemedium.Manyprogramswilloffersomekindofworkaroundthatcaptures(atveryleast)somecrucialelementofyourdesiredtechnique.Withsomeluck,you’llfindanearmatch.Ifyougetverylucky(andstayflexible),youmayevenfindahybridthatbothembodieswhatyou’relookingforandalsoalignswithyouruniqueartisticpointofview.
KarinFong’sGodofWarIIItitlesequenceisagreatexampleofanadaptedtechnique(atright).FongandheramazingteamatImaginaryForcesadapted3DCGIanimationtolookandfeellikeflatillustrationsonancientGreekpottery.Nosmalltask,solet’stakealookatherprocess.
CaseStudy:Adapt3DtoFeelLike2D
KarinFong,Director,TitleSequence,GodofWarIII.ProducedbyImaginaryForcesandSonyPlayStation
SonyPlayStation’sGodofWarIIIisapopularcomputergamethatfollowedtheleadoffeaturefilmsbycreatingastunningandcomplexmaintitlesequence.Theopeningsequencebrandsthegameasadramaticepicinformedbyancienthistory.Thechallenge
forKarinFong(director,designer,andfoundingmemberofImaginaryForces)wasinfindingabalancebetweenthegame’smodern3Dworldanditsancientbackstory.SaysFong,“Thedesignofthetitlesandthesequencesweremeanttostandasflashbacks,throughthelensofmemory,andnotbeatallconfusedwiththe‘real-time’happeningsofthecurrent(3D)game.”
FongtookinspirationfromancientGreekpotteryasawaytorelatetothestory’srootsinGreekmythology.SheusedGreekmotifsintheborders,patterns,andornaments,allowingforsomestrikinglygraphicmoments.
Buthertechniquewasevenmorestriking.Throughalongproductionpipeline,2Dand3Danimatorsworkedtogethertofindtherightbalancebetweenthetwotechniques.Theyadaptedtheoriginal3DCGImodelsfromtheGOWIIIgame,renderingandaddingtexturetoachievethegraphicsilhouettesthatweremoreorganictoGreekfriezes.SaysFong,“Wewereverydeliberateinfindingaflatandgraphic2Dinfluencetocontrastwiththelookofthe3Dgame.Itbecameaplaybetweenthisextremelyflatlanguageanddimensionalelements,withthehopethatthetensionbetweenthetwomadeforcompellingimagery.”
Theresult:animationandtransitionsthatarestartlinglyelegantandclassicbutalsomodernandimmediate.Thesequencehasastrangemixofdimensionalityandflatness,aperfectmeshof2Dand3D.Fong’sadaptationcameaboutbystretchingthelimitsofthechosentechniquetocreatethefeelthatwasembodiedinthemessageofthetitlesequence.Fong’sthoughtsguideandconfirmhowimportantitistoselectthetechniquethatbestworksforyourstory,andnottheoneyouaremostenamoredwith:“Youneedtoknowwhatmessageandemotionyouwanttoconveyfirst.Thenyoumakesurethelookisansweringthosequestions.Don’tbeseducedbythetechnique,becauseitcanreallytakeawayfromthemessageofyourproject.”
WorkaroundsIfyoudidnotfindasatisfactoryhybridmethodwithinyourprogram,thenit’stimetoseekaworkaround.ThismeansgettingalittleDIY.Still-images,live-actionfootage,and(gasp)hiringhelpareallgoodmoves.Noneoftheseoptionsshouldfeeldaunting,andcertainlyshouldnotfeellikecheating.Instead,findingagoodworkaroundisasignofflexibility—successfulindustryprofessionalsdoitallthetime,andDarwinwouldbeproud.
Workaround1:ImportstillimagesPerhapsthemostcommonworkaroundinanimationandmotiongraphicsistosimplyimportstillimagesandworkwiththeminsideyourprogram.Byusingeditingtoolslikemasking(hidingandrevealingpartsoftheimage)andcamerapanning,youcangetastillimage“moving”inawaythatalmostfeelslikefull-onanimation.IntheinstanceofourChinesecalligraphy,“unmasking”theletteringcouldevensimulatethehumanqualityofarealbrushstrokeexecutedbyahumanhand.
Workaround2:Shootlive-actionfootageIfstillphotosaren’tcuttingit,thenlive-actionfootageshotwithavideocameraisyournextbestalternative.Needtoanimatefire?Lightamatchandcapturetheimages.Movingclouds?Tiltyourlensuptotheskyandgetwhatyouneed.InthecaseofourChinesecalligraphy,you’llneedtofindsomeonetohelpoutwhocanactuallypaintthebrushstrokes.(FYI,you’dbesurprisedhowfarasocialmediapostcantakeyouinprocuringthatkindoftalent.)Onceyouhaveyourtalent,setupyourcameraundergoodlightingandshootclose-upfootageoftheartist’sbrushasitcreatesthecalligraphy.Onceyou’vecapturedthatfootage,importitintoyourchosenprogramandcompositeitintoyourproject.Theskyisthelimitforhowyouprocessandeditthatfootageonceit’sin,butthegoalistointegrateyourliveactionfootageintotheworldofanimatedstorytellinginaseamlessway.
Workaround3:StaffupLikeitornot,youaretheproducerofyourfilm,andbeingaproducermeansthatifyoucan’tgetsomethingdonebyyourself,outsourceit.Ifyoudon’thavethemoneytohiresomeone(whichisoftenthecase),favors,barter,andcajolingmightgetyouwhatyouneed.Onceyou’vesecuredtherighttalent,directthemclosely,butleavesomeroomforthemtobecreative,too.Oh,andcoffee—you’llneedtoknowtheircoffeeorderandhaveitreadywhentheirenergydrops.You’llbesurprisedathowmuchgoodworkasimplenon-fatlatteandcinnamonsconewillgetyouinapinch!
CaseStudy:LiveActionandHandDrawnSensoryOverloaddirectedbyMiguelJironisananimateddocumentarycreatedaspartofanonlinemediaresearchprojectentitled“InteractingwithAutism.”Thefilmisaboutaboywhostruggleswithautismspectrumdisorder(ASD)andhasahardtimeprocessingalotofsensorystimulationatonce.Itbeginswithsimpledocumentaryfootageofacrowdedcitystreet.Thecolorlive-actionfootagecrossdissolvesintonaturalisticallydrawnblack-and-whiteanimationoftheboyonthestreet.Withtheswitchfromonetechniquetotheother,theaudienceiscuedthatthey’reexperiencingthefilmfromtheautisticboy’spointofview.Astheboybeginstostruggle,theblack-and-whitedrawingbecomeslayeredwithringsofvibratingwatercolor.Realisticsoundsofthecitybuildslayer-by-layerintoacacophonyofpiercingagitatednoises.Theaudienceistakentotheuncomfortableplaceofexperiencingthepain,confusion,anddisorientationofsensoryoverload(atright).
Thehand-drawnanimationworkstoseparateusfromtheboyasanindividualperson,butjoinsuswithhimasacharacter,andthereforeisincrediblyeffectiveincreatingempathyforthefilm’smessage.Thesplashesofwatercolorareemotionalandfluidandalsometaphoric(theboy’semotionsarebeing“flooded”bywatercolors)andopenthedoorforaudiencestoliveintheintensityoftheboy’sperception.SensoryOverload’selegantcombinationofdocumentaryfootageanddrawnanimationtakestheaudienceonanunexpectedjourneyofunderstandingandcompassion.
MiguelJiron,SensoryOverload:InteractingwithAutism.ProducedandDirectedbyMarkJonathanHarris,MarshaKinder,andScottMahoy
CaseStudy:3DCGIDirectorMaciekJanicki’smasterfullyanimatedshortPaperCitycapturestheriseandfallofagloriouscitymadecompletelyof3DCGIpaper.Astheartistdescribesonhiswebsite:“Thenarrativeunfoldsthroughwindingroads,eruptingforestsandemergingmountains.Inonefluidtake,withskyscrapersrisingfromthepage—onlytocrumble,wrinkleandgentlycreasebackintotheground.”Whilethestorymaysoundsimple,PaperCityispackedwithmetaphors.Whilewatching,audiencesmaypondertheimpermanenceoflife,thetransienceofhumancivilization,andalsothebirthanddeathofpaperasamediumsincetheadventofdigitalmedia(atright).
Inspiredbytraditionalorigami,Janickiused3DCGItomodelmonochromaticpapertofeellikearealisticyetmagicalworld.Becausethecameramovement,lighting,andshadowaresoorganicandfamiliar,theaudienceisabletoexperiencethefilmasakindofrecognizablespace.PaperCitytakesadvantageof3DCGI’suniqueabilitytomorphrealitywithfantasyandgivesusafrontrowseattothebirthanddeathofacity.Techniqueandstoryareinperfectsync,amatchmadeinheaven.Weexperiencethefilmforitsstoryfirst,enjoyingthelayeredmeaningwhilesavoringeveryframeofelegantanimation.
TechniqueRecap
1.ConsidertheFormat
2.TranslateYourStory
3.ConsiderManyTechniques
4.ConsiderManyVisualStyles
5.AdaptYourTechnique
6.WorkaroundUsingaNewTechnique
7.ImportStillImages
8.ShootLive-ActionFootage
9.StaffUp
MaciekJanicki,PaperCity
Assignment:DesignatitlesequenceDesignaone-minutetitlesequenceinspiredbyanancientmyth,favoritebook,orpieceofmusicusingthefollowingprocess:1.Writeacreativebriefthatincludesthetitle,targetaudience,andgenre.2.Listsixwordsthatdescribethe“feeling”youwouldlikeyourpiecetohave.3.Jotdownalistofimagestotriggerthekeyideasthatwilldefineyoursequence.4.Fromthechartprovided,choosethetechnique(s)thatbestfitthewordsandimagesyou’velisted.5.Storyboardyoursequence,selectsoundand/ormusic,andtesttwotothreetechniquesthatyouthinkwillbestcapturethefeelingofyourstory.6.Animatethetitlesequence.
9.Animate!
Big-picturethinking,framebyframe
Congrats!Younowhaveallthetoolsyoucouldpossiblyneedtocreateamasterfullyanimatedstory.You’veconstructedyourstoryboards,colorscript,andsoundtrack—you’vedesignedyourworldandselectedatechniquethatexpressesyourbigidea.You’re
offtotheraces,andanimationshouldbeeasybreezy.Andyet,inmyexperience,animationisexactlythestepwhenallhellcanbreakloose.Thereasonissimple:Eachofyourcarefullyconstructedelements—magicalontheirown—canbestubbornwhenunitedandputintomotion.Thoughyoumayhaveenvisionedyourselfinanelegantconcerthallconductingadisciplinedsymphonyorchestra,youmayfindyourselfinadankbasementfilledwithferalcats,andyou’reinchargeoftrimmingtheirnails.Itcanfeeloverwhelming…
Neverfear!Yourprojectwillworkjustasplanned.Youonlyneedtofollowafewinsidertipsthatwillkeepyoucenteredandmovingforwardtowardsyourgoal.Thefollowingwisdomwasbornofgenerationsoftough-as-nailsanimatorswhoexperiencedfailure,heartbreak,andhumiliation,onlytoriseuplikethePhoenixandlivetotelltheirtale.Sopayyourrespects,andpaycloseattention.
GetStartedTheobviouswaytogoaboutanimatingyourprojectistostartatthebeginning,butthat’snotnecessarilythebestwaytogo.Youneedtobuildupyourconfidence,getusedtounitingyourelements,andbecomeaccustomedtotheunique(andsometimesinfuriating)eccentricitiesofthemedium.
StartEasy,GainConfidenceIencourageyoutostartbyanimatingyourproject’s“low-hangingfruit,”thatis,themostfun,short,andeasy-to-animatescene.Approachingyoureasiestsequencesfirstwillgetyoumovingforwardandmostimportantlywillhelpbuildupyourconfidenceatatimewhenyoumaybefeelinginsecure.Onceyou’redoneanimatingthatfirst“easy”scene,headtothenextonethatyouthinkisespeciallydo-able,evenifit’snotthenextoneinyoursequence.Donewiththat?Startonthenext.Aftercompletingafewofthosesimplersequences,you’llbefarbetterequippedtotacklethetoughones…andbythenyou’llhavenochoice!
BreakUptheToughOnesWhenyoudoarriveatyourmorechallengingscenes,don’ttrytotackletheminonego.You’renotDavidbattlingGoliath,andthisain’tBiblicaltimes.Yourbestbetinanimatingatoughsequenceistobreakitupintosmallerpiecesthatareeasiertohandle,andthenworkonthosepiecesonebyone.Notonlywillbreakingitupmakethetoughscenelessintimidating,itwillalsoreinforcetheimportantnotionthatanimatedsequencesareoftenmini-storyarcswithdistinctbeginnings,middles,andends.Takethelaunchofaspaceship:Farfromjustasimple“launch,”itincludesthegatheringupofenergy,forwardmomentumbroughtonbyfire,andfinallythelift-off.Thebiglaunch,likemanyofyouranimatedsequences,isitsownstoryarc,andworkingonitinpartsnotonlywillmakeitlessdauntingbutwillstrengthenyourstorytellingaswell.
MaciekJanicki,InterimFlight
NoShotLeftBehindItdoesn’ttakeanindustryveterantotellyouthatanimationtakesalongtime.Theprocessissolaborintensivethata12-hourdaycouldpasswithlittlemorecompletedthana3-secondshot.Thesnail’spacecanbeenoughtomakeyoupullyourhairout.Toavoidputtingyourselfthroughthetortureofanimatingwhatisnotabsolutelynecessary,youmustbecomeabrutaleditor.I’mtalkingGenghisKhan,AttilatheHunbrutal.Beforecommencingworkonasequenceofanimation,askyourselfsternlyiftheshotisabsolutelyworthitstory-wise.Ifnot,guillotine-time.Andifyou’rereluctanttoeditthesequencebecauseit’syour“coolestpart,”thendefinitelyconsidercuttingit.Becauseit’susuallythelook-what-I-can-do!shotsthatholdbackyourstoryandaddunnecessarytimetoyourproductionschedule.Wannashowoff?Tellyourfriendsyoufinishedyourprojectearlyandthatyou’reheadedtothebeach!
ArielCosta,WelcometotheAescripts+AepluginsPlayground
ProtectYa’TechThisisabookaboutstorytelling,buttherewillbenostoriestoldifyouloseitalltoacrashortechnicalerror.Saveversionsearlyandoften.Whenyou’renamingthings,thinkbestpractices:Createsimplefilenamesandfoldersthatarelogicalandorganized.You’renevergoingtofindthatversionyoucalled“need_sleep_finalfinal.pdf”nomatterhowhardyoulook.Disorganizationhasderailedmoreproductionsthancomputercrashessoheedthisadvice.Finally,getyourselfthebiggestblankharddriveyoucanaffordandbackupyourworkattheendofeveryday.Hell,triple-backitup.Don’tbethefoolwhohastolearnthislessonthehardwaywhensomanyothershavealreadylearneditforyou.
StrategicMovementSure,wespentawholechapteronstoryboardsandyoursaregoodenoughtohanginamuseum.Butintheanimatedrealmthingschange,soroughingoutyoursequencesinamoreelaboratewayisessential.
BeaPoserCalledkeyposes,thesemoreelaboratesketches(whicharebestaccomplishedinyourmediumofchoiceorprogramofchoice)provideaguidetoensurethatallofyourplannedmovementispossible,thatyouhityourintendedmarksofchoreography,andthatallofyourassetsconformtotheworldyou’vecreated.Whencreatingyourkeyposes,don’tforgettoincludeallelements—yourbackgrounds,props,andeventextandlogosthatyouintendtohaveoccupythescreen.You’dbesurprisedhowmanyexperiencedanimatorshavepainstakinglywalkedacharacteracrossaroomonlytorealizelaterthatthey’vewalkedthemthroughatable!
AnticipateandFollowThroughWhenworkingonyourkeyposes,don’tforgettopayhomagetothePatronSaintsofanimation:AnticipationandFollowThrough.These“beforeandafter”movementshelpillustratethephysicsofgravityonweightandmovement.Anticipationandfollowthroughareasimportantasyour“main”movementsandareresponsibleformakingyouranimationfeelnatural.Awomanrunningtocatchabusdoesn’tsimplystartpumpingherarmsandlegs.Herbodyfirstleansbacktogathermomentumfortherun.Andthenwhenshestopsatthebus,herhairanddressswingforwardasaresultofthegatheredforceofmotion.Everythingthatmovesinyourfilm,whetheritbeacharacter,shape,logo,orpieceoftext,requiresanticipationandfollowthough.Withoutit,yourmovementwillfeelroboticandflat,andyouraudiencewillsensethatthesameistrueofyourstory.
ComposeDirectionalMovementUnlikeintherealworld,objectsonascreenaretwo-dimensional.Eventhoughitmayseemasthoughtheyhavedepth,thetrackofon-screenmovementisalwaysflat.Asaresult,allanimatedobjectsmovealonganinvisibledirectionalpaththatfallsintofoursimplecategories:horizontal,vertical,diagonal,andcircular.It’simportanttobemindfulofthedirectionalmovementofallobjectsinyoursequencesasitcanenhance(ordetractfrom)theemotionalexperienceofyourpiece.Movementthatisdirectionallyconsistent(allverticalandhorizontal,forinstance)willfeelcalmerandsoisbestusedforscenesmeanttogivetheaudienceasenseofease.Butifyouwanttoadjusttheemotionalenvironment(sayavillainenters),thenaddingamovementthatcontraststothepredominantdirectioncancluetheaudienceintoabigstorymoment.
Twobabymicewalkpeacefullyintheforestandmoveonlyalongverticalandhorizontallinearpaths—butwhenanevilfoxenters,hemovesonadiagonalorevencircularpath.Inascenemeanttobeintenseandjarring(saythefoxpouncesonthemice),usingmultiple
directionsfromshottoshotwillintensifythevisualdramaandunsettletheaudience,alertingthemtomenace.
Beforeanimating,chartthepathofyourfilm’sdirectionalmovementbyprintingoutyourstoryboards(orkeyposesketches)anddrawingsimplelinesoneachtoshowthegeneralpaththatyourobjectsarefollowing.Considerhowyoucanenhancethestoryyou’retellingwiththedirectionsyoucompose.
DecentralizeandMixItUpSinceyou’vealreadygotyourstoryboardsout,Iwantyoutodouble-checkthatyourshotsareasinterestingastheycanbebyconcedingtoafewofthefundamentalsofvisualfilmmaking.
Fundamental1:GetoutofthecenterDon’tplopyoursubjectinthecenterofyourframe(toooften).Iknow,wetalkedaboutthisinChapter3,butthisisyourlastchancetomakegood.Takethetimetocheckthattherearen’ttoomanycompositionswiththesubject,logo,ortypeinthecenteroftheframe.Mixituporriskhavingvisuallysleep-inducingsequencesinyourfilm.Ifyoureallyneedyoursubjectdeadcenter,considerstartingwithitsomewhereelsefirstandthenmovingittowardsthecenter.Decentralizingyoursubjectwillkeepyourshotsactiveandexciting.
Fundamental2:MixupshotlengthDon’tforgettomixupyourshotlengths.Muchlikewithcentering,toomanyshotswithsimilarshotlengthswillboreyourviewer.Noticewhenyou’rewatchingwell-directedfilmshowinonesequencetheframecutsfromlongshotstomediumshotsandthentocloseups?Theeyelikestoexperienceavarietyoffocallengthsandtofollowthevisualcuessetbytheamountofinformationintheframe.
Mixingupthescaleofyoursubjectinsidetheframeandtheamountofinformationyouincludeintheframeenhancestheexperienceofyourstory.Abeetleishavingananxietyattackbutmanagestocalmherselfbeforewalkingon-stagetodeliveraspeech.Amedium-wideshotforthewholesequencewouldnotonlybeasnoozerbutamissedopportunity.Youneedtousethevisualstorytosqueezeoutalloftheemotionyoucangetfromthescene.Amomentofgreatanxiety(orclaustrophobia)canbeenrichedwithaclose-up,evenanextremeclose-up.Butyoudon’twanttostayclosetoolong.Oncethebeetlegathershercomposure,youmightshifttoamediumshot.Thenyourframemightwiden,continuingsountilfinallywideningtoalongshotwhenthebeetlewalkson-stagecompletelyself-assured.Mixingupyourshotlengthsnotonlywillkeepyoursequencesvisuallyvariedandinterestingbutmostimportantlywillhelpcommunicatethebigideasinyourstory.
Fundamental3:MixupshottimingInadditiontovaryingthesizeofyourshots,varythetimingofyourshotssothatyoursequencesmoveatdifferentpaces.Someshotsmayworkatafull15secondsbeforecutting,whileothersneedcuttingatjust2or3seconds.Varyingyourtimingwillofferalesspredictablevisualexperienceforyouraudience.Manyfilmmakersusequickershotsformorefranticscenesandlongeronesforcalmerscenes—somefilmmakersdotheopposite.Butsuccessfulfilmmakersalwaysmix‘emupforbesteffect.
ConsidertheBlurWhenshootingfilmorvideo,thecamera’slenshasalimitedabilitytofocusonobjectsatdifferentfocallengths.Theopticsoflensescreatelovelyimagesthatarebothsharpinsomeareasandblurryinothers.Lighttravelingthoughthelenscreatesaunevenexposureresultinginavignetteordarkeningaroundtheedges.Whenanimatingincomputersoftware,however,everythingisinfocusallthetimeandthe“exposure”isuniform.This“super-clean”sharpnesscanbeharshandlackfocalpoints.It’suptoyoutoaddsomevariationbyconsideringwheretoaddablureffectandothersuchshot-enhancingdevicesasgrain,grunge,orvignette.Thesecanhelpaddrealisticdepthtoshotsthatmightotherwisefeelflatanduninterestingandcanalsohelpde-emphasizeareasofyourcompositionthataren’timportanttotheemotionofthescene.Whetheryouseeksomethingrealisticormorestylized,aslightblurordarkeningofthecorners(oradditionoftheeffectslistedabove)willhelpbringyourpiecetothenextlevel.
ArielCosta,FeedYourCreativeBrain,StateDesign,MotionConference
SoundItOut
You’veprobablyfiguredoutbynowthatstorycanevolveasyourproductionmovestowardscompletion.Luckily,everythingismalleableinanimatedproduction,andsoundisnoexception.Sowhileyoumaybelievethatyoursoundtrackislockedorthatyou’vefoundtheperfectopeningsongforyourfilm,ameretweakinstorymayrequireanewsoundtreatmentthroughout.Modifyingsoundafteryouthoughtyouhaditrightmaymakeyouuneasy,especiallyonceyou’vebecomeaccustomedtothesoundyou’vepainstakinglychosen—buttheresultwillbeworthit.Stayflexibleanddon’tstoptweakinguntilsoundfitsthestoryyouwanttotell.
Theprocessoftweakingyoursoundduringproductionwillalsotrainyoutoworkonsoundandimagesimultaneouslyasthingsdevelop.Takethatlessontoheart.Itwillforceyou(again)toconsiderthegreatpowerofsoundtoaffectemotionalflowandtoelevateyourstoryuntilitmatchesyourvision.
BeFlexiblewithSoundtrackAsyourpieceevolves,themusicandeffectsthatfeltrightinpre-productionmaynotbethebestchoiceforthefinalanimation.Beopentochange,andexpecttospendsometimeexperimenting.Sometimesthisprocesswillaffirmyouroriginalsoundwastherightchoice,andsometimesitwillrevealthatyourworkcanreachanewlevel,pairedwithadifferenttoneortempo.Youcanalwayspopinmultiplesoundtracksandrendertoseehowitworks.Nothinghelpstogiveyoufreshperspectiveonaprojectmorethanashiftinmusicandeffects,soifyourcurrentsoundtrackisn’tworking,useitasanopportunityanddigdeeper.
HitYourSoundMarksNowthatyou’vechosenyour“temp”music(Icallittempbecausemusiccanalwayschange)andyouhaveyoureffectsandanydialogue,it’sessentialthatyouanimatetoyoursoundtrack.Animatorsoftenrefertothechoreographyofasequence.Thisisbecauseanimationisakindofdance,abackandforthbetweensoundandimagethatisrhythmicallypacedandelegantlytimed.Allowyoursoundtracktoinfluenceyoursequencesandaugmentstorytellingopportunities.
MuteYourSoundtrackOntheotherhand,becarefulthatyoursoundisn’tdoingallthework!Soundeffects,music,anddialogue(yoursoundtrack)canbesopowerfulthatananimatorcanunintentionallyrelyonittooheavilyandnotgiveastrongenoughanimatedperformance.Pressmutenowandagaintoseehowyourshotsareplayingwithnosoundatall.Ifyourvisualslacktheexpressivenesstobecompellingontheirown,youmaybedependingtoomuchonyoursoundtrack.Thisisespeciallyimportantforcharacteranimationwithdialogue.Agreatvoicetrackcanmakeyouthinkthatagreatperformanceiscomingfromtheanimation.Turnoffthesoundandseeifyourcharacter’sfaceandbodyaredoingtheactingorifit’sjustthevoice.
Animate!Recap
1.Easyshotsfirsttogainconfidence
2.Breakuptoughshotsintopieces
3.Planwellsonoanimationiscut
4.Backupyourdigitalfiles
5.Poseyourshotsbeforeanimating
6.Movementtip:Alwaysanticipateandfollowthrough
7.Composedirectionalmovementforwholefilm
8.Composeshotssosubjectisn’talwaysinthecenter
9.Mixupshotlengththroughoutfilm
10.Mixupshottimingthroughoutfilm
11.Addblurandvignettes
12.Beflexiblewithsoundtrack
13.Listentosoundwhileanimatingtohitsoundmarks
14.Muteyoursoundtracktocheckmovement
Assignment:CreateashortwithamessageAnimatea60second(orless)shortwithamessagethatisimportanttoyou.Yoursubjectcanhaveasocial,political,ormoralmeaningorcansimplyexpressanopinionthatyoufeelwouldmakeaninterestingfilm.Tryusingvoiceoverortexttocommunicateyouridea.Gothroughtherecapsinthisbooktoremindyourselfofthestepsyouneedtotaketocreateameaningfulanimatedstory.Youareananimatedstorytellernow,withthetoolstocreatesomethingmagical,sogetcracking!
10.ShowandTell
Create,share,andnetwork
Morethananyothertimeinhistory,younowhavetheopportunitytomakeyourworkseen.Filmfestivalshaveproliferated,theInternethasopenedcountlessforumstocelebratenewwork,andsharingcontenthasbecomesoembeddedinourculturethatyourlittleanimatedprojectcouldgofromyourlaptoptobeingaglobalsensationinminutes.
Quitesuddenly,everyanimatedstoryhasthepotentialtobecomeahit,viewednotonlybythemassesbutbyimportantindustryfolkslookingforfreshtalent.Atthesametime,themarketisfloodedwithcontent.CablenetworksarebattlingdigitalplayerssuchasNetflix,Amazon,andHulu,nottomentionmorethan500millionYouTubechannels.Sure,therearemorefilmfestivalsnow,butthehigh-profileonesaremorecompetitivethanever.Sundancealonereceivesmorethan9,000submissionsayearforroughly200spots.
GetItOutThereSohowdoesananimatedstorytellerwithacompletedproject(likeyou)findanaudience?Howcanyourworkdistinguishitselffromthecrowd?It’sallinthesefinalstepsofAnimatedStorytelling,aimedatgettingyourprojectseennotonlybythemosteyeballsbuttherighteyeballs.You’vetoldapowerfulstoryinyourfilm;nowit’stimeforyoutotellthestoryofyourfilm.
Step1:PackageYourProjectThefirststepinpackagingyourprojectisallaboutdesign.UntilveryrecentlythismeantcreatingaDVDandinformationalone-sheetandthenheadingtothepostoffice.Todayalmosteverythingissubmittedonline,soyou’llneedtocreateaworkinglink(passwordprotectedforfestivals)that’sreadytoshare.Butwhetheryou’remakingDVDsornot,you’llstillneedtocreatethefollowingphysicalassets:
TitleLogoandStill:Designaclean,quicklylegiblelogoforthetitleofyourprojectpairedwithastill“photo”fromyourfilmthatembodiesthestory.Thelogoandstillarenecessaryforpromotionalmaterialsandcanbedisplayedonyourwebsite,asacoverforDVDs,oronpostersforfilmfestivals.
Synopsis:Writeatight,cleardescriptionofyourproject,twotothreesentencestops.Thisdescriptionwillbequoted(likelyverbatim)onwebsitesandotherpublicationswellintothefuture,sogetitright.
DirectorBio:Startyourbiowithwhatyouwanttobeknownasprofessionally(suchasanimationdirectororscreenwriter),andthenfollowitupwithyouraccomplishmentsthatsupportthatrole.Ifyou’rejuststartingout,thenlistaninterestingfactaboutyourselforsomebackgroundthatpeoplemightfindinteresting.Someanimatorsliketowritequirkybios,andifyougothatwayjustmakesureitpertainsdirectlytothecontentofyourproject.Forexample,ifyou’vemadeafilmaboutbats,youmightsay,“KellyDunnisananimatorfromTexas.Atnightshesleepshangingupsidedownfromtheceiling.”
StoryoftheFilm:Finally,you’llneedtohavethestoryofyourfilm’screationwrittenoutandmemorizedforfutureinterviews.Thisstorybeginswithwhyyouwantedtomakeyourfilminthefirstplaceandwhythereissuchaneedtotellyourstory.Thiscanbehighlypersonalorrelatedtoabroadissuethatyouwantedtoexplore.Forexample,myanimateddocumentaryfilmBackseatBingoexploredtheromanticlivesofseniors.IwasinspiredbywatchingmygrandfatherSidfallinloveat84yearsold,andIwantedtoportrayseniorsinawaythatIfeltthemediawasmissing:assmart,funny,andstillsurprisinglylustful…justlikemygrandpaSid.
Step2:CreatingYourNetwork
Networking,onlineversionIfyouaren’talreadyanactiveparticipantintheplethoraofonlinecommunitiesfordesigners,filmmakers,andartistssharingtheirworkandideasonline,thengetonit.TheInternetprovidesthechancetoconnectwithamazingpeopleallovertheworld.Realrelationshipscanformandleadtobigopportunitiessolongasyoucultivatethosecontactswithprofessionalismandrespect.BetweenFacebookandVimeogroups,AWN,AnimationMagazine,Motiongrapher,CartoonBrew,ASIFA,AIGA,and,ofcourse,Tumblr,Behance,andInstagram(andwhatevernewcontainerisinventedbythetimethisbookisprinted),gogetactive.Findyourpeersandmakefriends.Seekoutgroupsoflike-mindedartistsandalsogroupsthatshareacommonthreadwiththestoryofyourfilm.ForBackseatBingo,thatmeantanimatorsanddocumentariansbutalsoseniorcitizengroupsthatIthoughtwouldbeinterestedinmywork.
Onceyoujoinanonlinecommunity,bepresentandengaged.Blog,post,sharelinksthatyoufindinteresting,andmakeconnections.Whenyou’reestablishedthereandfeelreadytoshareyourproject,donotgiveitallaway.Teaseitoutwithcharacterdesigns,sketches,articlesofinterestthatconnecttoyourfilm’stheme.Piqueyouronlinenetwork’sinterestsothattheycomeaskingtoseeyourworkinsteadofyouhavingtonudge.
JuliaPott,Triangle
Networking,humanversionLetmeguess,youfindsocializingatindustryeventstobeaspecialkindoftorture,andtheideaof“networking”makesyouwanttostickyourheadinahole?Guesswhat?You’renotalone.I’mabitofagoofandgetinsecureatconferencesandfestivals.However,whenIagreedtowritethisbookIrealizedthatI’dbettergetoverit,especiallysinceIknewIneededtomeetsomeawesomepeoplewhowouldagreetocontributeillustrations.Asmentioned,I’mkindaquirky,butinsteadoftryingtobecomesomeoneI’mnot,Ileanedintomyinnergoofandit’sworkedwonders…
ExhibitA:IattendedtheF5conferenceinNYCandtherestanding10feetaway,engagedinaconversation,wasmyhero,director/animator/illustratorJuliaPott.Inoticedotherswaitingtotalktoher,too.SoIdidsomethingstraight-uprid-onk-ulous.Istoodbehindthe
personMs.Pottwasconversingwith,putmyhandsintoaheartshape,anddancedaround,hopingthatshewouldembracemysillygestureofadmiration.Herfacelitup.Shesaid,“Hello!”Isaid,“Iloveyou.”Shesaid,“Howaboutahug?”ItoldherthatherworkwasincrediblyinspiringandmentionedthatIwaswritingthisbook.IfollowedupwithashortemailandaskedJuliatocontributeanillustrationtomybook.Theresultistotheleft,adrawingofherfriendscalledTriangle.Iadoreit,especiallysinceinmyownwackyway,Ididjustthat:Ienteredoneofmyhero’sTriangles.Andsocanyou.
ShareandRepeatThetimehascome.You’vefullypackagedyourcompletedfilmandarereadytoshareit.Whoyousendittodependssolelyonthedreaminyourheart.Onlyadvicehereistobeasprofessionalashumanlypossible.Ifyouwantyourprojectseenbyfilmfestivalaudiencesworldwide,learnaboutwhichfestivalsarethebestfitforyourfilm,readthesubmissionguidelines,andgeteverythinginontime.
Ifyou’retryingtogethired,craftyourcorrespondencesinawaythatreflectsyourcapacityasaprofessional.Employersappreciateartistictalent,butevenmoretheywanttohiresomeonewhoisdependableandarticulate—theywantsomeonewhocangettheworkdoneeasierandfaster.Attheveryleast,spell-checkeverything.
Andonemorething:Neverstop.Beinganartistisaconstantitch.Aftercompletingthisprojectyoumayneedaday’srest,butassoonasyoufeelthatitchtocreateagain,yieldtoit.Sketch,storyboard,write,animate,dream,andexperimentyourwaytonew,amazingstories.Andstayintouch.AskmequestionsorshareyourworkinmyFacebookgroupAnimatedStorytellingorfindmeatwww.lizblazer.com.Youcancountmeinaspartofyournetwork,andI’llberootingforyourstoriestocomealive.
Index
2DCGIanimation,118,119
2Dstopmotionanimation,117,118
3DCGIanimation,118,119,126,127
3Dstopmotionanimation,118,119
Aaccentcolors,66
additivecolorsystem,62
advertisements
airlineadstory,6–7,9,25–27
creatingforaplace,14–15
airlineadstory,6–7,9,25–27
Airbnb(Dulaney),63
Allen,Rama,71,72
animatics,50–51
animationprocess,129–139
roughingoutyourworkin,133–136
shortwithamessagecreation,139
soundtrackdevelopmentin,137–138
startingandmanaging,130–132
animationtechniques,113–127
assignmenton,127
casestudiesabout,124–127
conformingoradapting,120–122
formatconsiderations,114–115
overviewofstylesand,117–119
storyconsiderations,116
workaroundsand,123–124
anticipation,133
assetmanagement,13
atmosphericmusic,94
audio.Seesound
BBack,Frédérick,117
backgroundcolors,68
backingupyourwork,132
BackseatBingo(Blazer),143
“bad”art,importanceofcreating,74
BattistaandFrederico(Bruner),75
beadednecklacestructure,29,30–31
beats,18–19
Beckett,Samuel,74
BigIdea,4–5
Blackbird(Ma),61
blureffects,136
bookendingstructure,29,32–33
Borge,Richard,40
Borst,Phil,24–25
brandingprocess
motiongraphicsand,108–109
taglinesand,8
Bruner,Jordan,68,75
Bucher,Stefan,78,79
buddystories,35
CCaliri,Jamie,25–27
celanimation,117
CGIanimation
2DCGI,118,119
3DCGI,118,119,126,127
Chinesecalligraphy,120,123
cinematography,44
Clair,Patrick,98
clarity
overcleverness,9
instagingprocess,46
CMYKcolorsystem,62
Coleman,Ornette,93
collagestyle,118
color,55–69
assignmentonusing,69
creatingscriptsfor,58–62
designingformovementusing,68
hue,saturation,andvalueof,57
limitingyourpaletteof,63
makingyourownrulesfor,69
printvs.motionsystemsof,62
saturatingmindfully,67
storytellingpowerof,55
supportingsubjectsusing,64–65
surpriseorunexpecteduseof,67
symbolismrelatedto,60
thematicandaccent,66
tipsforusing,63–69
ColorBlind(Borst),24–25
colorscripts,58–62
examplesof,56,59,61
pre-colorscriptsand,58–61
principalcolorsin,60,62
processofcompleting,62
supportingcolorsin,61,62
comfortzone,goingbeyond,74–75
comingofagestories,35
complementarycolors,64
composingshots,43–44
conceptart,9
conceptdevelopment,2–9
creativebriefin,2–4
honingyourpitchin,7–9
summoningthemusein,4–7
continuity,48–49
directional,49
issueswith,102
spatial,48–49
temporal,49
contrastingmusic,94
Costa,Ariel,viii,16,36,54,66,70,86,100,112,128,132,137,140
countdownstorystructure,29
creativebrief,2–4,116
cuecards,18–19
Cytowic,RichardE.,97
DDailyMonstersProject(Bucher),78,79
deadzones,46
decentralizingsubjects,135
dialogue,95–96
diegeticsound,89–90
directionalcontinuity,49
directionalmovement,134–135
directorbio,142
Disney,Walt,37–38
drawingstyle,42
Dulaney,Kim,63,64,68,108,109
dynamicframing,44
E
editingyourwork,131–132
effectsaddedtoshots,136
elevatorpitch,8
emotionsandmusic,93
endingyourstory,22–23
Eno(Dulaney),64
environmentaldesign,102–108
assignmenton,110–111
physicallawsin,104–105
sociallawsin,106–107
timeandplacein,103–104
visuallawsin,107–108
experimentation,11–12,71–85
applyingtocurrentprojects,80–83
assignmentutilizing,85
creating“bad”artthrough,73
expandingyourskillsetwith,74–75
withmovement,82–83
withnon-digitalsources,85
withpersonalprojects,79
withsound,99
withtransitions,80–81
withworkyouwanttobehiredfor,76–79
ExquisiteCorpse(Waldron),32–33
Ffailingbetter,74,75
FeedYourCreativeBrain(Costa),137
FeedYourCreativeBrain(Scirocco),83
filemanagement,132
film&typestyle,118
“firstlove”story,5–6,8–9
fluidtransitions,80–81,118
Foleysoundeffects,92
followthrough,133
Fong,Karin,89,120–122
framingprocess,44–45,135
GGilliam,Terry,117
Glitschka,Von,67
GodofWarIIItitlesequence,120–122
goodvs.evilstories,35
Hhand-drawnanimation,117,118,124
Hayes,Isaac,93
Heartcommercial(Caliri),25–27
Hemingway,Ernest,7
Hendrix,Jimi,72,76
Herman,Gregory,76,77,79
Hertzfeldt,Don,117
high-contrastcolors,64
honingyourpitch,7–9
hue,57
IImaginaryForces,89,120,121,122
Improvcomedy,101–102
influences,10–11
inspiration,28–29,30
InterimFlight(Janicki),131
IntoMisterSharky’sMouth(Thawilvejakul),103
JJanicki,Maciek,126,127,131
Jaws(film),7,8,92
JimiHendrix(Wright),72–73
Jiron,Miguel,124–125
journalwriting,34
KKeesling,Brooke,102,105
Key,FrancisScott,72
keyposes,133
kindnesstheme,24–25
kinetictype,118
King,B.B.,93
LLancett,James,84,85
Leaf,Caroline,117
LindaLoves(Dulaney),68
live-actionfootage,123,124
lovestories,5–6,8–9,35
MMa,Jiali,61
MacroStudy(Herman),76,77
MadMenopeningtitles,116
MakeshiftSatellite(Walzel),56
McKee,Robert,95
TheMill,109
Miyazaki,Hayao,114
Morton,Louis,30–31,59,82
motiongraphics
brandingand,108–109
narration/voiceoverfor,96,98
three-actstructureand,20
movement
colorselectionand,68
composingdirectional,134–135
experimentingwith,82–83
musesummoning,4–7
music,93–94
contrasting,94
quietorsilent,94
scoringtothemes,93
assoundeffects,92
Seealsosound
MusicStudio(Thawilvejakul),14
mutingsoundtracks,138
Nnarration,96,98
naturalworld,107
networking,143–145
non-diegeticsound,89–90
non-digitalsources,85
nonlinearstorytellingstructure,28–33
chartdescribing,29
examplesofusing,30–33
importanceofproficiencyin,30
inspirationasbasisfor,28–29,30
NoseHair(Morton),59
OOFFFFilmFestival,108–109
Olympians(Pan),80–81
onlinenetworking,143
outsourcingwork,124
Overcast(LancettandWeston),84,85
Ppackagingyourproject,142–143
palettes,limitingcolor,63
Pan,Hsinping,80–81
PaperCity(Janicki),126,127
Park,Ed,72
PassionPictures,68
PasserPasser(Morton),30–31,82
personalprojects,79
PES,119
physicallaws,104–105
PixelShow(Costa),66
places
adcreationfor,14–15
creatingtimesand,103–104
planningyourproject,1–2
plots,8,35
Pott,Julia,117,144,145
pre-colorscript(PCS),58–61
pre-production,1–15
assetmanagementin,13
assignmenton,14
conceptdevelopmentin,2–9
previsualizationin,9–12
previsualization,9–12
beinginfluencedin,10–11
designprocessin,12
experimentationin,11–12
Psycho(film),92
Psyop,63,64
puzzlestorystructure,29
Qquest/journey/voyagestories,35
quietmusic,94
Rragstorichesstories,35
rebelstories,35
rebirthandredemptionstories,35
Referencesfile,10
Reiniger,Lotte,117
ReservoirDogs(film),94
resolutioninstories,22
RGBcolorsystem,62
rolereversalstories,35
ruleofthirds,44–45
Ssaturation,color,57,67
scalingsubjects,135–136
Scirocco,Alberto,83
Selick,Henry,119
SensoryOverload(Jiron),124–125
sharingyourproject,145
Sheehy,Sterling,43,52,105,106
shipoffoolsplot,35
silentmusic,94
skillset,74–75
sociallaws,106–107
SonyPlayStation,121,122
Sorcerer’sApprentice(Tchaikovsky),93
sound,87–99
assignmenton,99
dialogueas,95–96
diegeticvs.non-diegetic,89–90
editingormodifying,137–138
experimentingwith,99
Foleyeffectsas,92
leadingwith,89–96
motiongraphicsand,96,98
musicas,93–94
powerof,87–88
soundeffectsas,91–92
timingand,50–51,99,138
Seealsomusic
soundeffects,91–92
spatialcontinuity,48–49
Spielberg,Steven,7
stagingprocess,46–47
stillimages,123
stopmotionanimation,117,118,119
storyideas,34–35
storykernels,34
Story(McKee),95
storystructure,18–27
beatsin,18–19
three-act,19–27
storyboarding,37–53
assignmenton,53
continuityin,48–49
detailsrequiredin,42–47
drawingstylefor,42
examplesof,40,43,52
framingprocessin,44–45
originsof,37–38
revisionsprocessin,41–42
shotcompositionin,43–44
stagingprocessin,46–47
thumbnailingand,39–41
timingandanimaticsin,50–51
transitionsin,48
storytelling,17–35
aboutyourfilm,143
assignmenton,33
brainaswiredfor,5
classicplotsfor,35
journalwritingfor,34
limitlesspossibilitiesin,17–18
nonlinearstructurefor,28–33
storystructureand,18–27
subtextindialogue,95–96
subtractivecolorsystem,62
summoningthemuse,4–7
supportingcolors,61
surprisecolors,67
Švankmajer,Jan,119
symbolism,color,60
synopsisofproject,142
Ttaglines,7–9
Tarantino,Quentin,94
techniques.Seeanimationtechniques
TED-Edanimatedfilms,97,98
temptracks,93
temporalcontinuity,49
Thawilvejakul,SiriratYoom,14,103
thematiccolors,66
themes,8
enrichingnarrativesusing,23
examplesofintegrating,24–25,27
scoringmusicto,93
storyendingsrelatedto,22–23
three-actstructureand,19
three-actstorystructure,19–27
chartillustrating,21
descriptionofactsin,20–23
examplesofusing,24–27
motiongraphicsand,20
thumbnailing,39–41
time/placecreation,103–104
timing
mixingforshots,136
soundand,50–51,99,138
TireGoblin(Glitschka),67
titles
logoandstillof,142
sequencedesignfor,120–122,127
Tom&Jerrycartoon,92
tone,8,9,107,116
TotalRunningTime(TRT),50
transitions,48,80–81,118
Triangle(Pott),144,145
UUnitedAirlinescommercial,25–27
universalconflicts,35
Vvalue,color,57
video-editingprograms,50
visualdevelopment,9
visuallaws,107–108
voiceover,96,98
WWaldron,Michael,32–33
Walzel,Cody,10,56,104
websiteofauthor,145
weirdscience.Seeexperimentation
WelcometotheAescripts+AepluginsPlayground(Costa),132
Weston,Sean,84,85
whitespace,64
worldbuilding.Seeenvironmentaldesign
Wright,Ian,72
writing,7