Flexi-tips part 1

A: Flexi symbols: (1) normal state, (2) bend, (3) stretch, (4) twist, (5) squash.

B+C: The silhouette of twist is reinforced with overlap lines (also called “T’s”), indicating depth.

D: readable, feels like rubber.

E: not very readable (esp. silhouette), feels flat and weightless.

Applied to a simple character:

Quick & Dirty Storyboarding (2)

[continued from previous post]

As promised, here are some specific things I found useful in my quest for simplicity:

1. I started out drawing on a 400x225 canvas size, but later decided to go even smaller. The boards I posted were drawn on a 200x112 canvas, which physically limited my ability to refine.
2. My previous attempts had 2-3 frames per shot, as I would try to convey the progress within the scenes. Later I decided to try and keep to a single frame per shot, which really helped me stay with the big picture (for the final storyboard I will need more drawings, of course - but not for this initial stage).
   
3. In an effort to keep the staging simple and clear, I started attaching a short line of text to each frame, describing the "statement" of the drawing (e.g. "takes out sandwich", "notices bird").
   
4. Every time I felt a need to start fiddling with something that looked wrong, or I had an great idea I wanted to add - I attached a note instead . My rough board is full of stuff like "could be cut" and "camera closer + pan up". Once it's there, I can relax - I know I'll remember to change it in a later stage.
   

I hope these ideas would help others avoid some of my mistakes. If you have more ideas about how to avoid complicating stuff, don't hold back! :)

D.

Symbolism in staging - 1

For several months now, I’ve been spending a lot of my time at work storyboarding. Fortunately, my boss is an excellent storyboard artist, and I got to learn a lot from his comments on my work.

One of the interesting things he introduced me to, was the use of visual symbolism. What does that mean? Well, it means using composition to visually hint the audience about the characters and their relationships.

Yeah yeah, we know

Yes, we’re all familiar with the classic tricks of the trade: a small character in a huge background conveys the character feeling alone and insignificant, an up shot angle makes the character feel powerful and intimidating, and so on.

However, using tricks is different than understanding the profound ideas they represent. Visual symbolism is a strong communication tool that can be used in almost every shot, not just in special predefined cases.

Consider the following situation: two characters confront a third character - say, two students ask their professor to postpone a test. The sketch bellow shows two ways of staging the conversation:

Get in shape

First, let’s look at the silhouette.

Notice that in picture B, there are two distinct shapes: “students shape” and “professor shape”. This visually communicates to the viewer that in this particular situation, the students are grouped together against the professor. Picture A says “Mike, Jane, professor”; picture B says “students, professor”.

Divide and conquer

Next, let’s have a look at the way the characters divide the screen space:

In picture A the screen is divided to thirds. The characters seem to “share” the screen, which makes the conversation feel more friendly. We want to suggest confrontation, so in staging B, the two “groups” are placed on either side of an imaginary middle line. This visually communicates “they’re on one side, he’s on the other side” – in other words, confrontation.

You might feel that the screen space issue and silhouette issue make the same point. Have a look at this sketch then:

Here, the students are still silhouetted together, but now the characters don’t cut the screen in half. While we still have two “groups”, I don’t think this feels as confrontational as the original.

Made you look!

Picture A is confusing to the audience: who’s the main character? Where should we focus our attention? Notice how picture B creates an area of interest around the students’ faces. Being in the front, the guy on the left becomes the obvious star of this particularly shot. Try to look at any other area of the shot, and your eyes get almost forced into looking at him.

Last but not least: in staging A there is no sense of hierarchy. To show the hierarchical relationships between the characters, I’ve made the professor in staging B bigger (closer to the camera).

All this doesn’t mean that picture A is “bad staging” and must never to be used. For example, if we had a situation where three friends who got lost are trying to figure out where to go next - this shot could be perfect! It suggests exactly friendship, individual opinions, and confusion. Staging B, as we’ve seen, communicates confrontation and hierarchy. The two sketches tell us two very different stories, with nothing but pure staging – no poses, text, or facial expressions!

Say NO to walk cycles

All the to reason to not exercise walk cycles:

1. They're unnatural. People don’t walk in cycles, and the variations between steps add life to the walk.
2. They don’t allow for gradual development in the walk (like in the silly sneak walk above).
3. Which means that acting possibilities are very limited.
4. They're too technical: you have to make sure that the second step connects seamlessly to the first one, that they’re the same length, that the legs slide backwards in constant speed, and so on.
5. Which means that cycles are more difficult and take more time to make.
6. So, if you’re not already quite experienced and confident with the mechanics of walking, these technical problems are likely to distract you from the animation itself and lousify your walk.
7. Finally, it differentiates walking from all the rest. I constantly see animated characters who apparently can’t walk while doing something else, or do anything else while walking.

All the reasons to exercise walk cycles:

1. They can be watched in a loop.