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Notes

  • Writer: Ashley  Schmid
    Ashley Schmid
  • Mar 17, 2019
  • 2 min read

Animated Storytelling

Chapter 5: Weird Science

  • forget the gridwork for now and experiment, change up the medium

  • go with your last instinct

  • work at the edge of your skill set

  • investigate the hidden part of your expertise

  • continue to do what you love on the side

  • make a grid, shot#s on left, areas to experiment on right (technique, design, movement, transitions, sound, etc.)

  • let transition become the story

  • consider the quality of motion

chapter 6: Sound Ideas

  • let the sound lead the story

  • learn how to multitask silly polish girl

  • morphing sound - baby cry into lion roar

  • think about 2nd or 3rd relations instead of on the nose sounds

  • borrow sounds from soundtrack

  • think about music in terms of the overall film, characters, specific scenes, etc.

  • make the music invisible

  • match dialogue with personality - make it natural, use subtext conform to mood

Chapter 7: Design Wonderland

  • stick to the logic you have in place.

  • clear sense of time and place

  • consider the physical laws, only change them if it's meaningful

  • consider social laws and do research (nature is helpful)

  • visual laws; consider shape, line, space, color, contrast, texture. Stick to the theme.

Framed Ink

Chapter 4: Composing for Continuity

  • bring relative color theory into the story (contrast)

  • Break down each shot into shapes

  • what do the shapes say outside of knowing the story?

  • diagonals are more exciting/create more tension

  • things to consider:

  • character above or below the horizon line?

  • character above or below other characters

  • what is the character holding? does it bring power/dominance?

  • the surroundings - do they frame the character? Do they speak to the place and time?

  • does it hide the character or add to their persona?

  • what is in the distance - do they move away or come closer?

  • when changing shots - consider what's shown before and after? how large? what's dominant over the other?

  • seeing the front or the back; are we with or against the character? their victim or supporter?

  • if we don't see the face, we focus on the body language or background more

  • keep the audience within the frame

  • connect shots with common objects (being seen from different angles for example)

  • change shot weight from one side to the other to avoid confusing characters or objects

  • textures can help connect not as clear cuts/transitions

 
 
 

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week 14

i think i'm done??? might add some sound effects like wind in the beginning but idk

 
 
 

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