ccavisualstory: January 2013

Tons and tons and tons of viewable clips from amazing films....all on youtube!!!

http://www.youtube.com/movieclips

Sneakers

http://www.youtube.com/watch?v=coDtzN6bXAM&feature=share&list=PL1E9342504260D7F2

This scene involves two characters having a conversation about changing the world. As the sequence begins, we realize that they are under surveillance. They move to a smaller room to continue the dialog.
First two shots are closeups of the actors, then we go to wide shots as the actors lead us into the "safe" area. The camera pulls back to a very wide shot, before cutting inside the room to a series of closeups and OTS shots.
The color scheme changes as the characters enter the "safe" area. Blue is used for the area where they can't talk out loud, red and neutral are used in the safe area.
The tone changes as well. Unsafe area = dark tones, safe area = bright tones.
The "safe" area is where Ben Kingsley's character explains his seemingly benevolent plan to Redford's character.

Cider House Rules

http://www.youtube.com/watch?v=JES2fQLPoGU&feature=share&list=PL1E9342504260D7F2

This is a time-lapse sequence involving Toby M's character reading through a series of letters he has received/sent.
Fades are used to signify the passage of time between shots.
In addition, at the end of each shot, the focal element in the shot is framed in a way that it spacially overlaps the focal element in the NEXT shot.

http://www.youtube.com/watch?v=SzfQ2Bwhkcc&list=PL1E9342504260D7F2&index=116

This is a moment of discovery for the main character. He is about to discover a nautilus shell, which will inspire him to mathematically decode the stock market.
The first shots are super-high contrast in tone.
The shots are also ambiguous in their framing. We are in a disorienting, yet inspiring space with the character.
As the sequence continues, we are put into a more recognizable space, when the main character sees the treasure hunter inspecting the nautilus shell.
Note how the director chooses to SHOW the main character LOOKING at the hunter/nautilus shell, and then cross cuts to shots of what he is looking at.

Jurassic Park 3

http://www.youtube.com/watch?v=M7tNqjsclhs&list=PLF4CD53B8ECA3BB87&index=1

Tons of deep space in this shot.
The camera work during the dino fight is made to feel as though a documentary filmmaker is there. Just enough camera movement to sell the presence of the camera, not so much to distract from the animation.
There are several shots where one element is in the shot (human running away), and they react to something off-screen (falling dino), which then enters the frame. Very cool!

The Shining

http://www.youtube.com/watch?v=CMbI7DmLCNI

The flatness of the shot = super awkward.
Going from framing Danny far away to super closeup = awkward/jarring
Letting Danny lead the camera around the corner to reveal the girls heightens the audience's suspense.
Danny's sweater is one of the most color saturated elements in the scene - blood red
The close up non-moving camera on Danny's reaction to the girls heightens the horror - he is literally paralyzed with fear.

Visual Storytelling ANIMA21001

Greg Lemon, greg.lemon@gmail.com
Fall 2012
Monday/Wednesday 12-3 pm

This course is an introduction to the methods and tools of visual storytelling. Students will learn to create story images from written/spoken ideas, to develop these images and ideas into a clear and dramatic narrative arc, and to edit these images into an emotionally-satisfying story reel.

Course Learning Outcomes:

Upon course completion, students should be able to:

Identify the elements of story structure and describe their function
Identify and compose visual elements to support story ideas
Translate character behavior principles into narrative ideas
Utilize film language in shots and sequences
Communicate visual story ideas verbally through pitch sessions

Class Structure:

This is a three (3) hour class meeting twice per week. The class will consist of lectures, dailies and screening clips from various live action and animated films.

Expectations:

Come to class. Missing three (3) classes will result in an F grade for the course.

Deliver story assignments on time. Late work will not be accepted.

Failure to show a story reel (due on the last day of class) will result in a failing grade for the course.

GRADING:

Class Participation: 10%

Come to class, participate in discussions and critiques, and be passionate about your work!

Projects - 90%

Project 1 - simple sequence storyboard - 10%
Project 2 - film scene storyboard - 20%
Project 3 - action/drama ANIMATIC- 25%
Project 4 - final project ANIMATIC - 35%

Storyboard projects must be delivered DIGITALLY at 1280 x 720 resolution. Boards should be either in a layered PSD format or image sequence. You can:

draw then on paper, and then scan them

draw them in a drawing program (photoshop, storyboard pro)

Animatic projects should be delivered digitally via a .h264 movie file at 1280 x 720 resolution.

Project 1 - simple sequence without words - 10-20 boards - due week 2 - Wed. 1/30

Create a simple story sequence using no words or dialogue.
The story can be about anything, and does not have to involve people.
The story should be extremely simple, but should still have a sense of beginning, middle and end.

Project 2 - 1 minute sequence from film or script - 20 - 40 boards - due week 5 - Wed 2/20

Pick a 1 minute scene from a film or script to storyboard
You must use the same location, characters, dialogue and actions from the script/film
You may use existing camera angles from the film in no more than 50% of your project; the rest you should re-imagine!

Project 3 - action or drama sequence - 30 - 50 board ANIMATIC - due week 9 - Wed 3/20

Pick one of the two scenarios listed below.
Plan out the sequence, writing out a beat sheet and shot list
Storyboard the sequence, and then make an animatic with sound effects!

Action

Setting: city park.

A man jogs at a leisurely pace
An out of control rollerblader enters the park across from the jogger.
The jogger passes a couple walking their dog.
The dog barks at the jogger, causing him to flinch and throwing him off course, directly into...
The path of the oncoming rollerblader, heading towards the jogger at full speed!...
How does it end? Resolve the situation - do they collide? Does the dog save the day?

Drama

Setting: fancy restaraunt

A sits alone at a table/bar looking at his watch, annoyed.
B walks in to the frame.
A expresses his/her unhappiness at Bs lateness (points to watch).
B quietly stews; A mutters one last comment.
B erupts angrily at A; A shrinks back in fright.
How does it end? Resolve the situation - do things settle down, or does someone get hit with a wine bottle?

Project 4 - original story reel ANIMATIC - 40 - 60 boards - due week 16 - Wed 5/8

The final project for this class is the creation of an original story animatic. Your story can be about anything...drama, comedy, science fiction, suspense, etc. It can be a self-contained story, or part of a larger narrative.

The completed final project is due on the final day of class.

Story reels must have sound, music and dialogue (if needed)

Story reels should be a maximum of 1:00 long.

CLASS SCHEDULE

Week 1 :

1/21- MLK, no class
1/23

Introduction, class overview, goals and expectations
Discussion and analysis:Visual language of film, overview

Why do we watch?
What is a story, what is a character?

Character vs. Plot driven

Threshold of awareness:

events of the story (visible) vs. structure of the storytelling (invisible)

Overview of continuity style of film-making, three act structure, hero's journey

exposiiton, confict, resolution
anticipation, action, reaction

show, don't tell
Aim for the heart, work at a structural level

Three objectives of cinematography

don't confuse viewers - be clear
enhance the film with angles, cuts, etc that complement the film's mood/message
do fancy stuff that wows viewers

Camera shots - EWS, WS, LS, MS, CU, XCU
Camera angles - high, low, dutch
Rule of thirds and 180 degree rule
Storyboarding basics

clarity in:
shape, tone, space, location, mood, action/motion

Workshop:

draw 5 frame story using only basic shapes (cube, spheres, cones)
begin working on Project 1

Week 2 :

1/28

Lecture:

Showing one thing at a time - beats and pacing
beats are like...punctuation!
Story telling is story delaying - Scheherazade and JAWS example
Blocks' 6 visual elements of film
space, line and shape, tone, color, movement, rhythm and timing

Lab:

Work on project 1
Watch scenes from films

1/30

DUE: Project 1
Lecture:

Critique project 1
Deep dive on space

Deep/Flat/Limited/Ambiguous
Framing and dividing the frame

Flat vs Deep ---> awkward (funny) vs. exciting(dramatic)
Watch scenes from the Matrix and The Royal Tenenbaums

Lab:

Depth vs. Flat - take 30 minutes and find an interesting location on campus. Make at least two different drawings of that space, one from deep perspective and one from flat.
Begin researching scripts/films for project 2

Week 3 :

2/4

Lecture:

Line and Shape
object axis as lines
direction: curves vs linear
basic primitives: circle, square, triangle
the importance of silhouette

Lab:

Go to one of the frame still sites on the blog, or on the net. Find 5 interesting stills and redraw them in storyboard format, using simple primitives in the composition.
Continue working on project 2

2/6

Lecture:

180 degree rule in action, ways of breaking the 180
bridge shots
building tension: cross cutting

Lab:

Watch clips from Iron Giant
Create a 5 - 10 frame sequence using 2 primitives. Establish a 180 degree line between the two. Have a third object enter the scene, and find a way to establish a new line with the third object.

Week 4 :

2/11

Lecture:

Story: hope and fear, pivoting between
Drawing characters for storyboards

finding volumes
posing and appeal
straight vs curved

Look at storyboards from various films for character reference

Lab:

Watch clips from film storyreels
30 minute drawing exercise - go to a place on campus, and draw shots of that space, adding in a few characters
Work on project 2

2/13

Lecture:

Tone

Controlling tone: material vs. lighting
Lighting basics: 3 point lighting scheme

Lab:

Watch various film noir clips
20 minute drawing exercise - find an interesting object or location to draw. Change the lighting in your drawing to reflect a different time of day and/or mood.
Work on Project 2

Week 5 :

2/18

Lecture:

Color

Hue, Saturation
Color and Mood
Color and story associations
Watch clips from The Incredibles and Dark City

Lab:

Work on project 2

2/20

DUE: PROJECT 2
Lecture:

Critique Project 2
Movement

straight, curved, etc
stationary vs. moving objects

Rhythm

alternation, repetition and tempo
editorial rhythm
patternsContrast and Affinity

Lab:

Watch scenes from Pi

Begin research and planning for project 3

Week 6 :

2/25

Lecture:

Contrast and Affinity
Story intensity and visual intensity
Mapping intensity curves

Lab:

break down a scene from a pixar film and plot out intensity curves for various visual elements
plan out the scene for project 3 from a top-down orthographic angle. Find the important plot areas, actor paths and conflict points.

2/27

Lecture:

Contrast and Affinity continued
Sound

Lab:

Using abstract shapes and photoshop, make two quick board sequences, one featuring heavy contrast, in a visual element, and one featuring heavy affinity in another.
begin hunting/creating sound fx
thumbnail workshop for project 3

Week 7 :

3/4

Lecture:

Creating animatics in AfterEffects
Keyframing zooms, pans, fades, etc
Editing aesthetics and shot planning
Cutting on motion and sound

Lab:

Create a short 5-panel story reel in AfterEffects
work on project 3

3/6

DAILES: Beat boards for project 3
Lecture:

Creating animatics in Storyboard Pro

Lab:

Create a short animatic in Storyboard Pro

Week 8 :

3/11

Lecture:

Editing examples

Inception, Good Fellas, Boss of it All

Lab:

work on animatic

3/13

DAILIES: ANIMATIC for PROJECT 3
Lecture:

critique project 3 animatic

Lab:

work on revisions

Week 9 :

3/18

Lecture: 1 - on - 1 time for Project 3
Lab:

work on project 3

3/20

DUE: Project 3
Lecture:

Critique project 3
Story structure
Plotting vs Pants-ing

Lab:

discuss project 4, brainstorm story ideas

Week 10 :

spring break

Week 11 :

4/1

Lecture:

Using Maya to help plan scenes
Toon Boom Storyboard

Lab:

Use Maya and pre-built models to block out a few quick camera angles in 3d. Draw 5 boards of the scene using Storyboard pro, all from different angles
Work on story summary and beat/shot list

4/3

DAILES: Story summary and beat/shot list
Lecture:

Using Maya con't
Toon Boom Storyboard con't

Lab:

3D/thumbnail workshop

Week 12 :

4/8

Lecture:

Editing for motion continuity
Watch clips from Tin Tin

Lab:

beat board workshop

4/10

Lecture:

Advanced camera moves using AfterEffects

Lab:

Practice camera moves in AE
work on beat boards

Week 13 :

4/15

DAILIES: Beat boards
Lecture:

critique beat boards

Lab:

work on revisions

4/17

Lecture:

screen films
1 - on - 1 time

Lab:

work on revisions

Week 14 :

4/22

Lecture:

screen films
1 - on - 1 time

Lab:

work on finals

4/24

DAILIES: Final storyboards
Lecture:

screen films
1 - on - 1 time

Lab:

work on finals

Week 15:

4/29

Lecture : 1 - on - 1
Lab : work on finals

5/1

DAILIES: Final Animatic
Lecture : 1 - on - 1
Lab : work on finals

Week 16 :

5/6:

Lecture : 1 - on - 1
Lab : work on finals

5/8:

DUE: FINAL PROJECTS

ccavisualstory

Tuesday, January 29, 2013

Frame still sites

Sunday, January 27, 2013

movieclips youtube channel

Wednesday, January 23, 2013

Temple of the Seven Golden camels

Hitchcock's storyboards

Storyboards from 10 popular films

Tuesday, January 22, 2013

Story progression reels

Thursday, January 3, 2013

Visual Storytelling syllabus

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