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The (final) Final cut!

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last reading reflection

Chapter 20 of Design for Motion covers design boards driven mostly by characters, utilizing imagery of the design boards to develop the character as opposed to wordy descriptions. Designing and planning the motion is essential because motion is how the character traits are conveyed in animation. Mannerisms and behavior are conveyed via motion, so planning it by listing character traits and associating keywords with the character solidifies the character traits. 

Chapter 3 of The Animation Bible emphasized the importance of fully developing your idea in preproduction and having a fully developmed pitch loaded with concept and aesthetic choices. A rough script incorporating into the pitch allows for room for development of the story, then storyboards allows for a visualization of the concepts. It also discusses the aftermath of the pitch in promotion and marketing of the idea.

Chapter 5 of Shelby’s Animation covers the production aspect of animation, discussing various mediums of animation. 

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Proper

https://drive.google.com/file/d/1TRqEN97CbFsREGfL70_8Pc_WvHVQgQ-0/view?usp=sharing

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Assignment #3: Si Se Puede

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Discolored Delusions - The Story of Kevin Burns

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Director - Talia Gnessin 

Editor - Melanie Do

Producer - Jesse Zand

Sound Mixer - Mess 

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Reading Reflection #8

This week I focused on Chapter 3 of the Animation Bible by Maureen Furniss, she discusses the process of pre-production. Producers and directors are not always the originators of a project. They could just be hired to oversee production. But the vast majority of animation productions in the commercial context begin with a script, storyboard, layout materials, and written plans with the approval of the financial backers. Additionally, clients, professors or other collaborative forces are involved with their presentation. Furniss states that these people are part of creating the project’s visual development of materials and might contribute line drawings, conceptual paintings or other indications of how the characters, props, and locations will look. Furniss also describes the process of pitching a project and how crucial this step is in the development of an animation project. If the financial backers do not like your pitch, most likely your project will never come to fruition. A Pitch is a short descriptive statement (up to a couple of minutes in length) which includes a more detailed written treatment that describes the entirety of the project. Furniss states that it is just as important to sell your project as it is to explain it to make it sound desirable.    Furniss also discusses sound design, which I have found to be a crucial element in any animation. The music, soundtrack, dialogue, and sound effects (or lack thereof) can make or break your project. What I found interesting is Furniss states that more often than not, sound and images are developed separately. She says that in order “…to maximize the impact of sound, directors might call on two types of sound specialists: a composer, who creates music to accompany the work, and a sound designer, who creates, manipulates and organizes nonmusical sonic elements.” The input of the sound designer is present even in the earliest stages of pre-production, and his or her suggestions can add to the visual development of the work as well as the sonic elements.

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Reading Reflection 8

Shaw Ch. 20

An effectively designed character has the ability to contain metaphors for big ideas, break through walls of apathy, and helps deliver a concept through a story. Character’s personality is often exaggerated.

Process of character design

Written character profile: emotional characteristics, behaviors, and mannerisms. Possibly a back-story. Initial sketches and character thumbnails: explore possibilities, unfold character in process of drawing. 2D layout sheet: front, back, and three-quarter view of the character. Action poses: help visualize the gestures and movements of a character. Translating character design to motion: using coloring, layering, and rigging for 2D. Modeled, textured, and rigged for 3D.

Furniss Ch. 3

Pre-Production is the key to efficient animation production. Producer deals with business, while the director leads the creative side. No matter how the concept arises, it is critical to go through a period of concept development.

Asking yourself certain questions will help better define the work that needs to be done (ex: what is the central goal or storyline, what is the visual style of the work, what type of sound will be used, who is the audience, etc.). This will help prepare for the project and plan accordingly.

Many animations start with a pitch and a treatment, both to sell the work and make it sound desirable.

Scripts are also an important part of pre-production. Some projects don’t have much dialogue, or any at all, but the script also has written descriptions of visual elements and serves as a technical guide.

Sound design should not be forgotten about in the pre-production stage. Considering the soundtrack early on using a composer and/or sound designer will allow suggestions that can aid the visual development of the work.

The storyboard is important to the pre-production stage because it is the visual outline for the project. This is so important and can go through multiple revisions before completed. The storyboard in conjunction with the soundtrack will produce an animatic/story reel. This helps with the timing of it all.

Ultimately, scheduling and budgeting makes or breaks the clients, studio executives, professors that are supporting the project. Keeping things organized, timely, and recorded, all help keep this part going. Marketing and Promotion are the things that define the ultimate success of the project: how many people it will reach, how much revenue it will get, etc. This research starts all the way in pre-production and can gain a following from audiences early on this way.

The producer is in charge of making sure the rights and ownership of music or any other materials are in order.

Creating a style guide helps design for characters, props, locations, and backgrounds. In stop motion, this step requires scale-size drawings of all the characters so that the sets built around them work.

Once all the bases have been covered, a test run of the animation is helpful. Do the colors work? Is the dialogue making sense?

Selby. Production Chapter

Production honestly depends on the processes and techniques each project uses/requires. All animation, essentially, is made using the concept of creating still frames (many) that when placed one after the other, create movement. Everything else (colors, materials, subject) is different in every creation.

Motion design began with things like magic lanterns, slides, thaumatropes, kaleidoscopes, phenkistoscope, zoetrope, and praxinoscope. The article takes us through the various parts of production required for the many different kinds of animation (3D, 2D, digital, analog). The production process is complete when the rendering has occurred and a final edit is signed off by the director.

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Reading Reflection 8

Chapter 5: Production of Selby’s book Animation, deals with the various processes of production in animation: traditional cell animation, stop motion, puppets or advanced computer virtual animation. It offers a description of some basic techniques, and also of the traditional 2D animation techniques, such as rotoscoping, or computer-generated 2-D animation tools, such as Adobe Flash. The author then explains how sets are designed and lighting is used in different techniques of animation. Lighting is extremely important in creating desired visual effects and convey specific moods.

In Chapter 3: Pre-production of the Animation Bible, the author describes the process of pre-production in animation, explaining that producer and director are two key roles in production, although they are not always authors or originators of the project. She explains the process of developing a concept for a work of animation, emphasizing the fact that inspiration can come from anywhere, but that it’s very important to think through all the stages of future production, in order to make the process effective. The author explains the process of pitching an idea, and the scriptwriting process, and even the sound design process, which is important for quality animation. For example, voice recording should be done during the pre-production process. Scheduling and budgeting, as well as promotion and marketing are also briefly explained, as well as some aspects of copyright and the various issues related to that.

In Chapter 20: Character-driven design boards of the book Design for Motion, the author explains the importance of character design in animation, emphasizing the fact that it’s a discipline on its own, and that professionals specifically create characters for animation. The chapter explains that the essential characteristics of effective character design is the ability to create human representations, in the sense that these characters should be emotionally and ideologically identifiable by the viewers.

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Reading Reflection #8

Design for Motion, by Austin Shaw, Chapter 20: Character-Driven Design Boards, expanded my idea of a design board. This chapter addressed the process of creating a character driven design board. I found this to be something that what be very challenging for me considering a design board has to communicate so much about your story or narrative. Communicating that much of a plot through the use of a single character I would assume is a very large task. Along with this the chapter encouraged exaggeration in the character within the piece. This triggered my thoughts on whether or not I could think of a film without a dramatic character, a film with maybe a (authentic) character. Has this ever happened and would that even be a possibility? The closet style of film I could relate to this is italian neo-realism but the instant I came up with this relation I realized that Moma Roma (maybe the biggest star of the genre) is one of the most dramatic actors of all time. So although the goal of neo realism is to create a film centered on terrible historical events or not generic happy plot lines it still does this via dramatic actors which is possibly self conflicting? Along with this I was taken back when Oeffinger said he has more creative freedom when working on a staff or more willing to throw out ideas rather than as an individual.

When reading The Animation Bible, by Maureen Furniss, Chapter 3: Pre-production, I began to wonder why I always tend to enjoy pieces that are produced by an individual or a smaller studio. I am not sure if I am just impressed that they could pull something so impressive off with such a small crew or if they are for some reason better at telling or making stories. One benefit I can clearly see about working as an individual or within a small crew is the ability to experiment and freely explore personal ideas without the pressure of maybe say an investor or something. So maybe this just leads to better work. You also have to fit into a particular mold of making childlike animations for people like Pixar, so if on your own you can wield animation to any mood or genre.

Animation, by Andrew Selby, Chapter 5: Production really caught my attention when reading about Unorthodox animations. I was really hoping for some mind blowing techniques but none were to impressive to me. Im not sure if I comprehend them all correctly but it really pushed my thinking on what animation could be.

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Reading Reflection #8

In Design for motion, the fundamentals and techniques of motion Design, Austin Shaw discusses the importance of character design, as character have the potential to emotionally connect with its viewers. Characters can also contain metaphors for larger ideas and feelings, “breaking through walls of apathy to snare a viewers attention.” The essential qualities in a character design are often exaggerated to exemplify their nature or message within a short period of time. It important to identify and keep core ideas in mind about the emotions you want to communicate when designer your character. Action poses are a good way to help you visualize the views and proportions of your character, as they exhibit the kind of emotions nature you intended. The written character profile also helps with character design, is a likely the first place to start. Writing a backstory allows for a designer to clearly recognize and develop the personality of a character. Translating character design into motion can only be done after the characters have been designed and properly prepped. The motion can occur in a numbers of ways depending the visual style of your project. This includes, layering, rigging, etc.

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Reading Reflection #8

In chapter 20 of Austin Shaws, Design for motion, he discuss character driven design boards. Character-Driven Deign Boards are design boards that express character emotion. With emotion, viewers can relate to the characters on the screen. Professionals dedicate time to develop characters emotions. Exaggeration in emotions are important because motion design is a short form of storytelling, so there isn’t much build up. Exaggeration is going to show exactly what the characters are feeling. Though many of us are not great at drawing, it could help us to convey what we are trying to express. Once we have design the characters we must prep them for motion. Tactile characters can be rigged for stop motion or live action animation.

 In chapter 3 of the Animation Bible, we explore the pre-production process. The first task is to find personnel. The director and producer are the two key individuals in a production. There are many other positons that go to many different people. The next thing to do is develop a concept. Once there is a concept we can pitch the idea so we can find someone to help make the film. When the film is ready to be made, we can start making the script. Then we can start getting sounds and storyboards together and focus on timing.

 In Andrew Selbys Animation, we talking about the different types of animation and basic techniques. Traditional animation with drawing is an early form of animation. Stop motion animation gives you a lot of freedom, you could us all types of objects and drawing forms. 3D computer-generated animation is becoming the more popular type of animation.

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Reading Reflection #8

In the twentieth chapter of Austin Shaw’s Design for Motion: Fundamental Techniques of Motion Design, Shaw delves into the subject of character design. Similar to screenwriting, Shaw suggests starting with a written character profile. This allows one to fully understand a character, which matters a lot when trying to choose visual representations of that character’s emotions. There is something called a 2d layout sheet that might follow that allows an artist to understand the different views of their characters. The chapter is actually pretty short, but Shaw suggests making a character-driven design board. Considering my film will be fully character driven, I appreciated the suggestions made by Shaw in this chapter, despite its brevity. 

 In the third chapter of Maureen Furniss’s The Animation Bible, Furniss, in heavy detail, goes over pre-production. She begins the chapter with choosing personnel – who will be on my team? For me, it’s Enrique, Duane and Ana. Then Furniss suggests a few questions to ask when developing a concept. All of these questions are things one should have answered before starting one’s project. Next Furniss goes into pitching ideas and then writing the script. I sort of feel like that’s the wrong order – but maybe not in animation. Timing was the section I was particularly interested in. “When pre-recorded sound controls timing, it is necessary to ‘read’ the soundtrack to determine how many frames of visuals are required to accompany it” (Furniss 73). This is important to remember as I use pre-recorded sound for my project. To finish the chapter, Furniss goes over style guides – similar to a style frame but a little longer and turned to often throughout a project, and she suggests a test run. I just did this for my project! 

 In the fifth chapter of Andrew Selby’s Animation, Selby goes over different production techniques. He starts with the origin of animation: a magic lantern. This probably isn’t the very beginning, as suggested in earlier readings, but it was an integral part in the history of creating animation as an art. Selby introduces cel animation and other 2D techniques. Eventually Selby gets to stop-motion – something we know a lot about at this point. I particularly liked learning a little more about armatures and intend to use them very soon. Selby wrapped up the chapter with where we currently are in production: 3d computer-generated animation. 3D animation has sort of taken over, at least in terms of feature length films. It has been consistently used in Pixar. Selby, like Furniss, also touches on sound and its importance in all productions. 

Overall, with where I am in the creation of my project, these chapters definitely enhanced my learning experience. I am now thinking way more about sound as I create.

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Reading Reflection #8

Chapter 20 in Shaw’s Design for Motion is one of my favorite readings we have done all quarter because it focuses on something I would love to focus on in the future, character design. The chapter titled, “Character Driven Design Boards”, details how to go about creating a strong character design and use it in terms of motion design. My most important takeaway from this is it’s not all about how the character looks, you can create one really cool drawing of a character but that would not be enough to get across the feel of that character for a production. You need to have an idea of what the character is like by starting with a written profile, and then you need to show the character in different perspectives, poses, and emotions to really get across the substance of that character.

Chapter 3 of Furniss’s Animation Bible discusses the pre-production phase of a project, which we are very familiar with after having to go through this process for our story pitches, but there is much more to do beyond the pitch. First, you must develop the story concept and really focus on capturing your idea for the pitch and selling it. Then you need to flesh out, edit, and finalize a script. Next comes sound design, animation is unique in that it is usually more logical to gather all your sound before you shoot a single sequence, because you have to animate to the dialogue and score instead of adding it after. My group is using this technique and it is working very well for us. Some of the main steps that I was already aware of that Furniss mentions are timing, storyboard, animatic, and layout. But Furniss opened my eyes to new concepts like budgeting, marketing, ownership, elements of a studio, and test runs.

Although I am running out of words to address this reading, Selby’s Chapter 20 discusses the many different aspects of animated production. He explains the historical tools and ways of viewing animation along with a plethora of techniques that can be used to create an animation. I was most interested in the “Unorthodox Animation” section especially the process of pixilation because Norman McLaren’s neighbors is one of my favorite works.

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Reading Reflection #8

Chapter 3 of “The Animation Bible” discusses pre production for animations, specifically how drastically pre production processes can transform the flow and overall outcome of a project.  When collaborating with directors, producers, and other creators, those working on the project must make important decisions regarding the goal of the story, and even things like how the project’s components will be handled after the animation is complete.  

When creating a pitch for an animation, it is also crucial to understand the company that you want to invest in your idea.  Presenters should know how to start a dialogue with an investor and highlight the strengths of a project. Understanding not only how to quickly and effectively communicate the goal of an animation, while also making it seem appealing, is a difficult balance, but is the major goal when pitching an idea.

Chapter 3 finishes by going into further detail about specific aspects of pre production, including planning pacing, sound design, scripting, storyboarding and animatics, and budgeting.  These all may feel like pieces that won’t come up until later in the production process, but thinking about them early on will save time, money, and most importantly, make an animation better.

Chapter 20 of “Design for Motion” covers character design, which involves research on mannerisms and behavior, on top of the artistic process of creating characters.  Shaw recommends doing loose sketches of characters to practice conveying emotions and physical attributes in the most accurate way possible. From there, an animator should move onto creating action poses and designing gestures.  These are crucial to the plot line because they contribute to the audience’s perception of a given character, along with the other characters, as well as the mood and tone of the entire story.

Chapter 5 of “Animation” covers the production process of animation, using mediums such as paper and clay.  Selby also discusses the use of set design and lighting during production, as well as sound production in relation to 3D animation.  He uses animations that are based off of interviews or specific sound bites as an example of this.

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Reading Reflection #8

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Reading Reflection #8

Chapter 20 of Austin Shaw’s design for motion begins by talking about the process and importance of one’s character design.  Shaw understands that character design can be a daunting task for those who do not have strong drawing skills, however, he believes the process of conceptualizing the character as well as the research and references that come with it pay off in the long run. He believes a good starting ground to be a written profile of the character because of the quality that including mannerisms, behaviors, and other emotional characteristics can bring forth to your overall portrayal of the character as a whole. Shaw believes in spending time actually drawing loose sketches of the characters at first in order to experiment with different designs until they are closer to the actual look of your character overall.  The animator will then need to visit other areas such as creating action poses in order to visualize the characters movements and gestures, actually rigging your character for the actual animation, and even the creation of a design board that is based off different aspects of your character as well.  

Chapter 3 of the animation bible talks about the pre production process in regards to animated work.  This article talks about the different ways in which the concept of the work overall can be developed; whether it be through the producers and directors themselves, or other people hired from outside of the production itself.  Either way, it is important to ask a number of questions in order to better and more precisely envelope the idea behind the work ranging from, “What is the central goal of the story line?,” to “How will artwork, digital files, and other components of the work be archived when they are no longer in production?”  After completing these questions it is time to pitch the project which will vary depending on what industry you are trying to export your work to.  The article explains that it is good for the person presenting to provide three or four of his or her best ideas about the film with the ability to extend and talk about those concepts to those you are pitching to. This article goes on to explain all of the other aspects of pre production including the making of a script or veering away completely from having one at all, thinking about the sound design of the piece, pacing and timing, storyboarding, animatics, scheduling and budgeting and many more areas to consider.