LAYOUT
Once more we discussed layout and how we should go about doing it for the best results.
Field Guides:
16 Field is the largest used for TV
11 F. Long shot- full body
9 F. is used for close up’s on the face
10 F. mid shots (half body approx. .)
16 and 14 F.- are used for crowd shots.
Layout folders need to have a Cover Sheet: a page showing all aspects of a scene on one sheet of paper.
Trace off all layers in the correct positioning onto one sheet. This will act as a reference page to show all the props and character positions. .
Include camera movements and cameras co-ordinates also!!
Camera positions
To measure camera positions use the FG (field Guide) grid.
Each FG has a cross in its centre- use this to measure the change in location from the original guide to the new guide.
An example might be a long shot (11 f) to a close-up pan of face (9 f).
The new position of the 9 field might be 1 North 1.5 West (in terms of the grid squars being wroth 1 each)
The first camera position is always Blue.
The finish camera position is always Black.
Always be aware of TV essentials when Storyboarding.
Mark showed us using Duck Dodgers example how when you draw in BG’s of characters you must be aware of the whole room as a setup. Use many different pieces of paper which shown the environment the characters are in at all diff. angles to help draw the BG. This ensures consistency form on angle in the shot to another!!
Always draw bigger then you need- past the guide parameters!! That way if there is a problem and you need to move the shot slightly left or right you can without having to redraw!!
Tone: Drawn in tone and shadow using blue pencil. Apply diff tones of blue to get better depth.
Overlays:
Once BG is shaded place the character sheet over it.
Now you can draw in any overlays! This is any part of the Background that the character interacts with.
Indicate using another colour on the BG what the overlay is. Also draw in the overlay on the character page.
For all cover pages write a brief description of what is happening in the scene.
Last but not least draw down the camera positions- Blue starting pose, Black finish pose.
Fin!!!
Tuesday, April 3, 2007
Week Four !!
Hmm today we went briefly over the colours used in layouts again
Purple- shadows
Green- ‘same as’ Blue- roughs/tonal work
Red- anything reused (so you use this if you want to recycle background you have already drawn- this saves time and ensures consistency in drawings!)
Yellow- Special FX
Storyboard breakdowns- preparing the script for layout
Model Packs (given to every member of the team to look to for information)
Used to show divisions of a film.
MP sequence the film out
then break it into locations
- every character has a number (ie- ST32)
- there is a props list (usually in ¾ view only)
- any Special FX are observed (such as water, fire, smoke, light)
- reused backgrounds are also shown
Set Up- any shots or framing you reuse
With every Storyboard you do PUT IT UP ON WALLS.
This lets you stand back and observe how the SB works and if it flows properly. . .as well as showing if any shots can be reused.
Sequence it out as a normal story board. Sometimes ypou might find that very long SB throw you. So separate them into exterior and interior.
Reuses + Setups + BG reuses can now be worked out.
How to show a shot is to be reused: Reuses are always done in RED.
- Work through the SB frame by frame (up on wall) naming each ‘different’ background 1,2,3 ect. . .
- When you find a background appear again which has already been numbered simply give it the same number (so you may end up with five number 3 backgrounds because it was reused that many times).
Colour Model Packs:
These packs are given out during the design stage and given to all post-pro people.
This is to ensure that all the colours match in the final product and that there isn’t inconsistency in the colouring (clashing ect..)
Lay Out:
Character layout is done in Key Frames
Background layout is done in may layers known as ‘overlays’ and ‘underlays’.
Overlay (anything under the character)
Underlay (anything over the character)
Background Layout:
Take into consideration when doing a scene:
- does it have a ‘focal point’?
- is there a Background, Mid-ground and Foreground?
Make a habit of drawing the character or prop larger then the overlay – This gives you the flexibility to extend the position.
Match lines: Back in the day they never had overlays and instead had to match the lines up exactly. This was a bitch because it meant clean up had to match the lines perfectly or else the dreaded flicker would occur.
Always give characters ‘screen space’ (ie room to move in the frame) unless of course if is part of the feel of the scene not to. .
For example if a character we are watching front on is looking to their right then position them so as there is more space on their right hand side.
Hook up: scene plus the animation
MARK TIPS!
All roughs in layout are done in blue before you later go over it in a blue pencil
Re-pegging - This is where you rip the bottom of the paper off with peg holes on then stick on another in the new position you want. This is a very common practice in studios.
When starting your drawing always do the large broad shapes first, the details come later.
Clean-up: always look ahead of the line (let the eye guide the hand)
Fin!
I found this sub pic from second week and decided best to put it up now then not :)
Purple- shadows
Green- ‘same as’ Blue- roughs/tonal work
Red- anything reused (so you use this if you want to recycle background you have already drawn- this saves time and ensures consistency in drawings!)
Yellow- Special FX
Storyboard breakdowns- preparing the script for layout
Model Packs (given to every member of the team to look to for information)
Used to show divisions of a film.
MP sequence the film out
then break it into locations
- every character has a number (ie- ST32)
- there is a props list (usually in ¾ view only)
- any Special FX are observed (such as water, fire, smoke, light)
- reused backgrounds are also shown
Set Up- any shots or framing you reuse
With every Storyboard you do PUT IT UP ON WALLS.
This lets you stand back and observe how the SB works and if it flows properly. . .as well as showing if any shots can be reused.
Sequence it out as a normal story board. Sometimes ypou might find that very long SB throw you. So separate them into exterior and interior.
Reuses + Setups + BG reuses can now be worked out.
How to show a shot is to be reused: Reuses are always done in RED.
- Work through the SB frame by frame (up on wall) naming each ‘different’ background 1,2,3 ect. . .
- When you find a background appear again which has already been numbered simply give it the same number (so you may end up with five number 3 backgrounds because it was reused that many times).
Colour Model Packs:
These packs are given out during the design stage and given to all post-pro people.
This is to ensure that all the colours match in the final product and that there isn’t inconsistency in the colouring (clashing ect..)
Lay Out:
Character layout is done in Key Frames
Background layout is done in may layers known as ‘overlays’ and ‘underlays’.
Overlay (anything under the character)
Underlay (anything over the character)
Background Layout:
Take into consideration when doing a scene:
- does it have a ‘focal point’?
- is there a Background, Mid-ground and Foreground?
Make a habit of drawing the character or prop larger then the overlay – This gives you the flexibility to extend the position.
Match lines: Back in the day they never had overlays and instead had to match the lines up exactly. This was a bitch because it meant clean up had to match the lines perfectly or else the dreaded flicker would occur.
Always give characters ‘screen space’ (ie room to move in the frame) unless of course if is part of the feel of the scene not to. .
For example if a character we are watching front on is looking to their right then position them so as there is more space on their right hand side.
Hook up: scene plus the animation
MARK TIPS!
All roughs in layout are done in blue before you later go over it in a blue pencil
Re-pegging - This is where you rip the bottom of the paper off with peg holes on then stick on another in the new position you want. This is a very common practice in studios.
When starting your drawing always do the large broad shapes first, the details come later.
Clean-up: always look ahead of the line (let the eye guide the hand)
Fin!
I found this sub pic from second week and decided best to put it up now then not :)
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