Note for future referenceL There are three books that will need to be in your library if you want to be the best at what you do, be it animation, illustration, or more cinematic photography. Those books are below:
Why are we learning shot types? The only way for you to expand your knowledge as a visual storyteller is to know all of the formulas and conventions you have at your disposal. Even one new frame could be the difference between an amateur production and presentation and a visual masterpiece of storytelling!
A list of helpful books for cinematic storytelling, good for both Animation and Live Cinema!
THE RULE OF THIRDS:
VARIOUS CAMERA SHOTS:
Basic Shots: http://www.mediacollege.com/video/shots/
Advanced shots begin to manipulate the camera and treat it as more of a character in the film, moving and swaying between angles and shots to create a more lived in space:
Dolly shots are some of the most advanced, yet easiest to preform in animation. Dolly shots are where the camera trucks, weaving in and out of the scene, around characters, key environment elements, and other places. (in short, move the camera from one side to the next)
Two Shot: A medium shot with two subjects.
Overhead shot (bird's eye view): Camera is facing down from above.
Canted shot: When the camera is tilted on it's axis so that normally vertical lines appear slanted to the left or right. Ordinary expectations are frustrated. Often used to create mystery and suspense in films to create a sense of unease in the viewer.
Handheld Shot: "shaky cam" sometimes played up in action scenes to suggest a state of unrest.
Remember that the shots you use already come loaded with information for your character to use. Also remember that keeping the camera steady in some instances will give your character pivotal moments to come alive.
BONUS: Notes on camera angle diversity: Notes on camera diversity.
http://www.demotix.com/blog/advice/1072724/creating-shot-list-diversity-your-camera-angles-and-image-submissions
FOCUSED CASE STUDY that Teaches Cinematography:
The Cinematography of the Incredibles, parts 1-3.
FOCUSED CASE STUDY that Teaches Cinematography:
The Cinematography of the Incredibles, parts 1-3.
Staging and blocking for animation:
Why do we stage and block shots? To better plan our animation. It's a good idea to have a list of documents for what our cartoon will be. Printouts of our character and our character's expressions for easy reference. Printouts or organized sketches for your characters. Documents of the action and shot direction. Drawings of where you think your shots will be. And, it makes you feel better about the work you do. Seeing the pieces of your cartoon come together creates a sense of pride in your cartoon, as if you are doing something important that many people are simply unable to do. It's the truth.
Things to remember when planning cinematography:
Practice your draftsmanship! Draw lighter in the beginning, sketch first, refine second! We will animate our character through drawing frames! Block out each shot. Export your drawings out of Storyboard pro as a pdf. You can board on paper, or photoshop, and scan in too. but we will make an animatic of your work for the final.
STORYTELLING: Three Act Structure:
Review the formula for a movie's "Three Act Structure" at these links:http://tvtropes.org/pmwiki/pmwiki.php/Main/ThreeActStructure
http://www.cod.edu/people/faculty/pruter/film/threeact.htm
http://scripteach.com/?page_id=223
STORYTELLING: Three Act Structure:
Review the formula for a movie's "Three Act Structure" at these links:http://tvtropes.org/pmwiki/pmwiki.php/Main/ThreeActStructure
http://www.cod.edu/people/faculty/pruter/film/threeact.htm
http://scripteach.com/?page_id=223
