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[tiamayer]

Reading Response #3

Chapter nine of The Mechanics of Movement by Susana Shaw covers concepts for basic movements like walking, lifting objects, and simple rigging.  Shaw emphasizes the importance of filming one’s own movements and even drawing in order to better understand the “essence” of the way things move.  Another key factor is timing -- understanding that the anticipation and follow through do not take up the same number of frames as the action itself, as well as creating a steady and natural rhythm.  Some other important conventions including breaking up movement and creating the illusion of speed.  Breaking up movement refers to when parts of a characters body react at different times to the same movement, and creating the illusion of speed can be done by creating blur in either a scene’s background or on the character itself.

In Chapter two of Animation by Andrew Selby claims good animations acknowledge that there is a blurred boundary between real life and visual culture.  Animations can have roots in a variety of interests, such as education, commercialism, or simply a personal experience.  Selby also notes the importance of find a balance between being unique and creating a plot line that any viewer can relate to in some way.  A sense of familiarity for the viewer is what makes an animation successful.  In his discussion of conducting good research, Selby emphasizes the importance of cross referencing facts in order to ensure their accuracy.  He also claims that first-hand research is always most valuable.

Chapter three of Design for Motion covers design boards and how they function in the preproduction process.  Each frame is meant to represent a turning point in the animation’s plot, as well as specify camera angles and positioning.  It is essentially a collection of style frames.  It is absolutely essential for getting investors to fund a project, since they are essentially buying the design.  The article also includes an interview with Erin Sarofsky.  He mentions that he’s always willing to throw out an idea even if he’s put a lot of time into it; the most important thing is that it should feel like it’s working.  Another thing he mentions is that he switches up the medium he uses for his design boards, whether it’s crayon, pen, or even chalk.  

[tiamayer]

Reading Reflection #1

The introduction of Animation by Andrew Selby argues that animation is multidimensional and universally relevant. He argues that regardless of culture, age, gender, or other identifying factors, animation has the capability to communicate with all of us.  One of the most versatile examples that he cites is the navigation system in cars. The animation used in these systems can articulate the current route and driving conditions more fluidly than any other system could.

Selby then continues by discussing what is known as the Twelve Principles of Animation, which are rules used both to make animation appear more realistic and true to the laws of physics, and to contradict them at the same time with a certain fluidity.  It’s a balance between conforming to and challenging reality.  

The introduction concludes by discussing each step of pre production, production, and postproduction for both 2D and 3D animation.  This involves anything from motion tests, where character movements are sketched to test their fluidity and appeal, to panning and special effects, where the final touches of an animation’s visual and aural effects are completed.

Chapter two of “Design for Motion” covers style frames and their applications in animation. Style frames are an incredibly important part of an animation because they have so many functions.  They are intended to convey the overall style of the project, they must indicate the software and props needed for the project as well as its limitations, and meanwhile must convince a production board that the animation is worth making at all.  Shaw emphasizes the importance of creating style frames that will excel in both narrative and structure.  He also addresses their importance in expressing concept, warning against applying “form over function”.

Another important idea that Shaw addresses has to do with limiting style frames.  He warns young designers not to “dumb down” their style frames simply because they don’t think they have the skill to animate them properly.  Finally, Shaw expresses that style frames should feel like a frame pulled from a finalized, polished animation rather than a rough sketch, since these frames will be referred to for the entire creation process.

[tiamayer]

FILM 20P Writing Assignment #1

Tia Mayer

Film 20P

4/21/2017

Joseph Gallegos

                                      Location Scout Reflection

The location I visited was under a bridge by the Santa Cruz pier.  From on top of the bridge, I was able to see the ocean, as well as the forest.  Underneath the bridge there are tons of wooden beams intersecting with each other on either side of the bridge.  They are thick and made me feel safe, in the sense that they provide seclusion from passersby.  There is also a certain kind of magic that comes from standing among a piece of architecture that completely envelopes me.  The beams are well constructed, held together by huge steel bolts, but at the same time they seem somewhat haphazard.  They are rough and have remnants of other visitors.  I can see old beer cans and cigarette butts lining some of the lower beams.  Since the bridge is outside, the lighting is white light from the sun for most of the day.  But during one of our other visits, the light was yellow and orange because we were there during golden hour.  The bridge’s mass keeps the sun during the day from beating down on visitors.  I feel calm, protected, and hidden in this place.  It smells like foliage and dry soil under the bridge.  These are faint, but pleasant smells.  It is quiet under the bridge, aside from the occasional pedestrian or skater passing through the bridge’s walkway.  The only other sounds are the ocean and birds chirping.  

Ronnie, Syd, and I explored the space above the bridge as well.  There it was much brighter; We were hit by direct sunlight.  And there were many more pedestrians. The sound of cars driving by created a constant hum in our ears.  It smelled more like city than under the bridge.  The space above the bridge was less favorable to us.  We liked being under the bridge because of the less harsh light, the secluded nature, and the ability to explore.