Welcome to 2D & 3D Animation & Asset Production IGME.119.02

1. Welcome to 2D & 3D Animation & Asset ProductionIGME.119.02 Instructor: Sten McKinzie Email: semigm@rit.edu Monday & Wednesday 6:30 – 7:45pm Room 2750

2. Visual Story Telling

3. Why look back? • All new media are built on old media • Theories and techniques from previous media are adopted and adapted for new media • As the new media grows it creates it’s own theories and techniques • Even so, many of the established techniques remain

4. The Frame • Has always been a factor in media • What represents the frame in these medias? • Film / Television • Theatre • Print • Comics • Video games • Until we are able to break through the hardware wall it will always exist

5. Composing the Frame • How we arrange our environment, props & subjects within the frame can effect how the audience perceives it. • This has been studied for thousands of years • Many of the techniques remain consistent from painting to film to video games

6. Frame Composition • Leading Lines • Rule of Thirds • Triangle Formation

7. Leading Lines • Lines are everywhere around us. • Natural lines can strengthen composition by leading the viewer's eyes toward your subject. • Diagonal lines can add energy • Curved lines can add soft elegance • Using a road or path as a leading line can add depth

8. Leading Lines

9. Leading Lines

10. Leading Lines

11. Rule of Thirds • A centered image is boring • There are certain "hotspots" - areas of intensity that exist within any given image • Align the subject within these hotspots for a more energetic and interesting composition

12. Rule of Thirds • This image shows the 4 Rule of Thirds "hotspots" where the red lines intersect

13. Rule of Thirds

14. Rule of Thirds

15. Rule of Thirds

16. Triangle Composition • Occurs when the placement of the subjects (or group of elements themselves) form the shape of a triangle. • To create depth • Break up the image for variety in spacing • Create a connection or relationship between the different subjects • Can help describe relationships between subjects visually when used properly

17. Triangle Composition

18. Triangle Composition

20. Territorial Space • Consider the camera as our eye • The cameras proximity to the subject is our proximity to the subject • It is affected by the rules of territorial space

21. Territorial Space Outside of this all becomes public space

22. Territorial Space • PUBLIC: 12 feet to 25 feet • People generally ignore each other • Alone in a crowd • Keep their private space to themselves • No intimacy

23. Territorial Space • PUBLIC: 12 feet to 25 feet

24. Territorial Space • SOCIAL: Four feet to 12 feet • Boss/employee • First date • Job interview • Cashier/customer

25. Territorial Space • SOCIAL = formal

26. Territorial Space • PERSONAL: 18 inches to 4 feet • Two people who have gone on a few dates, and feel comfortable with each other, but still respect each other’s personal space • Parent and child, but possibly in a more public setting • Good friends sharing a conversation

27. Territorial Space • PERSONAL: More discreet personal range

28. Territorial Space • INTIMATE: within 18 inches • Two lovers • Parent and child • Two very good friends sharing a secret

29. Territorial Space • INTIMATE: Very close

30. Territorial Space • INTIMATE: Very close (not necessarily comfortable)

31. Territorial Space • When public space becomes intimate • People crunched against each other on a crowded subway • Try to keep their private space • Forced intimacy

32. Territorial Space • Consider the camera as our eye • The cameras proximity to the subject is our proximity to the subject • It is affected by the rules of territorial space

33. Framing

34. ELS = Extreme Long Shot LS = Long Shot FS = Full Shot MS = Medium Shot OTS = Over The Shoulder shot CU = Close Up shot ECU = Extreme Close Up OS = Out of Shot POV = Point Of View shot Types of Shots

35. ELS: Extreme Long Shot • Used in all genres • Epic films: enhance the experience of watching narratives that are epic in scale • Important: used in films where locale plays an important role • Westerns, historical films, war films, etc.

36. ELS: Extreme Long Shot • Establishing Shot • First shot in a film or sequence • Establishes location • Spatial frame of reference for closer shots • Important: helps us to understand the greater picture of where the film or sequence is taking place and set the tone

37. ELS: Extreme Long Shot Dreams, Akira Kurosawa, 1990. Establishing shot.

38. ELS: Extreme Long Shot The Sting, George Roy Hill, 1974. Establishing shot.

39. LS: Long Shot • Distance is Subjective • Generally considered the distance between audience and a theatrical stage • Imagine sitting in the front to 10th row during play • Important: Places the subject in its surroundings (vs ELS)

40. LS: Long Shot Ran, Akira Kurosawa, 1985.

41. LS: Long Shot Ran, Akira Kurosawa, 1985.

42. FS: Full Shot • Specific category of Long Shot • Think Full Shot = Full Body • A human figure is framed head to feet • Can frame a single character or a group

43. FS: Full Shot Smoke Signals, directed by Chris Eyre, 1998.

44. MS: Medium Shot • Also called “Mid-Shot” or “Middle Shot” • Equivalent distance of framing a character from head to midriff (can be as low as the knees) • Often but not always waist to head

45. MS: Medium Shot • TWO-SHOT: MS framing two characters • Intimate distance • Listening in on a conversation • THREE-SHOT: MS framing three characters • Any more than three characters would have to become a full shot

46. MS: Medium Shot Crooklyn, directed by Spike Lee, 1994.

47. MS: Medium Shot Juno, directed by Jason Reitman, 2007. THREE-SHOT.

48. MS: Medium Shot Juno, directed by Jason Reitman, 2007. THREE-SHOT.

49. OTS: Over The Shoulder Shot • Literally shooting over the shoulder of a character • Back of character’s head and shoulder are visible at one side of the frame • Rest of the frame is filled by what has the character’s attention • We join the character in the experience, empathy

50. OTS: Over The Shoulder Shot E.T. the Extraterrestrial, Steven Spielberg, 1982. Empathy