“[A good artist is] one with imagination and the ability to tell a good story. How well a man draws cuts no ice with me, if what he’s trying to express comes out vague and choppy.” ‐ Jack Kirby
(Sherman cited in Morrow (ED.) 2004, (vol.1) p. 181).

Wednesday, August 29, 2012

Week 6 Exercise: These isn't one, but...



To allow you to play catch up, and because there weren't enough machines in the lab to go around, I want you all to get to the same point in regards to your inclass exercises thus far (i.e.: FINISHED), but also in regards to your progress on your final assessment.

That is: have your story at least "beat"ed out in points (1. this happens, 2. then this happens etc.) in a loose 3 act structure. Thouse that are working from pre-existing scripts, make sure they are 2-3 minutes. And in this case, start thumbnailing ;D

Use references for thumbnails/roughs for concept designs etc.

If you don't have a story yet, start brain storming NOW! You all should have an idea, like I hit you up for about a week or 2 ago, use vertical or lateral thinking to start jogging your brain into nutting out your character/s and their short 2-3 minute journey.

Like what you ultimately pick, as it is a bit of work to do, you want to enjoy designing, drawing, creating and telling the story, yes? Yes. Good. :D

So think:

> What Genre? Does it need one?
> Character/s?
> Setting/Era?
> What's it about?
 - Normality
 - Inciting incident
 - complication/s and escalation
 - low point, which leads to
 - Climax
 - Resolve: return to status quo or 'new world order'.
> What's the Style? How do you want it to look? 

(And start finding references, and arranging them into a files structure/matrix for YOUR benefit and assessment :D )

Have fun, and email me if you need assistance/sounding board :D

Week 6 Clips Recap

Notes are up on Learning @GU under "2107GFS Lecture Slides" folder in 'Course Content'.

Remember, I'm usually one to talk from the images and not have heavy notes on the screen- the various examples of my own work for instance show how referencing either aided in the design and creation of a character/costume/setting, and not always "I need to specifically find XYZ". i.e: The research can "bear fruit" in relation to your visual story, not only adding weight, but providing inspiration and answers to solving a problem you may have in narrative or character (such as the case of the 1880's 'Soldier Legacy' character).

I realise there are a number of students who I haven't had time to reach in the last few weeks as I go around 1 by 1 in class, so next time I get the opportunity (next week is a guest lecturer, so I'm thinking week 8), the aim is to identify and see these students first. M'kay?

Anyways, the clips. Mains points are in Lecture notes.
 When watching these, think about how referencing has inferred the settings, props, locations, character designs and charactersations, action, narrative, mise en scene, shot choices, techniques and inspirations used by the filmmakers etc.

And also, all the mechanics of visual story at place: storytelling/camera conventions, shot selections, composition, focal points etc. etc.

Oh, and remember this handy tool- I can't recommend it enough for hands, facial expressions etc. Or your iPhone ;D



MULAN




THE DOVER BOYS


http://johnkstuff.blogspot.com.au/2009/07/smears-and-poses.html

JUSTICE LEAGUE: THE NEW FRONTIER

Could not find a clip that had the lead-in we watched, featuring more of the Las Vegas setting, the Martian watching 1950's television, Superman and Lois Lane on top of the Daily Planet (referencing 'The Cold War Era'), but this should be enough to jog the memory/get the point across.



SHERLOCK HOLMES





PATTON


PROJECT: A







Gotta run! See you guys :D

Tuesday, August 21, 2012

Week 5 Video clip recaps

Just briefly, Lecture notes will go up on Learning @ GU shortly, in the meantime, here's the clips we watched:



We started the class with this: A nice, brief overview of storyboarding by the Emmy Award winning Warner Brothers production team, behind animated shows such as 'Batman: The Animated Series', 'Superman: The Animated series, and 'Justice League'. James Tucker, featured in this, began as a board artist on 'Tiny Toon Adventures", before applying thru Bruce Timm to land a role boarding on "Superman: TAS" before eventually moving onto bigger roles with Warner animation, recently an Executive Producer of the series "Batman: the Brave and the Bold".


METRO from Jacob Wyatt on Vimeo.

This beautiful cartoon that Andi found is a wonderful example of a filmmaker not limiting themselves to the confines of the 16 x 9 ratio viewing screen. Rather, using comic book theory of panels, Wyatt is able to further lead the eye through his film using compositional changes, more precise focal points, and emphasis on certain parts of the story. A full screen environment really has impact in relation to the smaller "panels" of shots preceding it. Taking advantage of camera angles, diagonals in the compositions, and moving his characters through a 3D space (from B/G to F/G), and always adhering to the 180 degree rule, this is a nice example of film language at work.



We watched the opening sequence right up until the Captain America scene. It is interesting at this point to contrast the storytelling with what was taken directly from the Hudlin/Romita Jr. comic (the tribe scene, the White House Scene) with the storytelling approach to the Captain America meets Black Panther scene, as this wasn't part of the original comic. To me, the storytelling in this seems rather flat and unimaginative, during the conversation. Anyways, you decide :)




We watched the first scene or two of 'Samurai Jack', and as a example of character design, mise en scene, reference, and storytelling approaches, we will definitely watch more examples from this in the coming weeks. The short action scene in the Night Club uses many conventions from Comic book storytelling, particularly the example of the Batman page from Frank Miller's 'The Dark Knight Returns', which highlights a critical moment in the battle with a stark white background.

Finally, we had a quick look at some polished storyboards from Ridley Scott's 'Gladiator'. As these weren't part of a movie clip, I found some links you may want to peruse, which also includes some fantastic concept drawings, and examples of "light as a shape".

http://www.dga.org/Craft/DGAQ/All-Articles/1001-Spring-2010/Drawing-Board-Tiger-Tale.aspx

http://www.toutlecine.com/images/film/0028/00284361-gladiator.html



And thumbnailing, straight onto the script, like we worked on last week/this week:
http://miseenscene101.blogspot.com.au/2010/10/ridleygrams.html

Gotta run, will touch on images from the lecture notes from last week in the next day or so for those that we absent from that lecture. As usual, any questions, email me.

Monday, August 20, 2012

Recap Week 4: In Class clips and comments

Quick recap for last week featuring directors Charles Chaplin, and Martin Scorsese with tie-ins to what we were talking about.

1. The pose (from 'Modern Times')- characterization through posing (Silent film "over-acting" helps) and expression.







And some shots in practice, from week 3's 'Camera Conventions'.  The no cuts Steady cam shot from 'Goodfellas'. Remember what we said about subjectivity in camera choices?


 (This shot was apparently inspired by a long steady cam shot in Brian De Palma's 'The Untouchables'. It's not just Tarrintino who homages great directors ;D)


And the POV-Steady cam shot, introducing the local 'wiseguys'.



A simple action/reaction shot scene, but effectively focusing on the main characters. A great layered composition too, where the surrounding people, objects in the foreground, and background elements work together to give a nice, rule of thirds friendly focal point on Joe Pesci and Ray Liotta respectively. And simple "180 degree rule" example in action.




(Pointless trivia: This scene was improved- based on a real story about actor Joe Pesci telling a mobster in a restaurant he was "a funny guy".)

See you all Tuesday :D

Friday, August 10, 2012

Week 3: Recap on Tute film clip examples

Ok, so just a brief recap on most of the examples we watched in class this week. Pay particularly close attention to the choices in camera, and the movements, that are used to tell the story. As some of you pointed out in class, very little dialogue is used to covey what a character is thinking, feeling or doing.
Which goes back to the point of "SHOW, DON'T TELL".

With many of the shots below (particularly the animated examples) it is plain to see the importance of perspective in relation to creating your 3D world on the 2D plane of the page/screen.

Sergio Leone's 'The Good the Bad and the Ugly'



For the life of me, I couldn't seem to find a proper formated version of the opening sequence. However, you get the idea. A couple of things to take note: The often-used trademark of Leone's directing of cutting between grand long shots, with close ups of gritty faces, often of incidental or no-name characters. Not only sets the mood and tone of the world/period depicted but it's almost like the faces themselves are landscapes or settings. You know what I mean ;P
Also, the longer, relaxed pacing of the overall film (you need to rent this for sure.) From a storytelling/shot selection point of view, it's engaging in a sense that really, we're just watching a posse walk down a "street". But the choices made are interesting to the audience. And lastly, the fight. We don't see it, but our minds allow to piece together what happened. And in one shot of the main character bursting thru the window, juxtaposed with highlight music theme, the words "ugly" which a comedic overtone, we have a little bit of empathy and engagement with him already (through comedy, and his obvious "skill" of cleaning up other gun fighters.)

Contrast this with 'The Spirit' opening scenes, for which we had no idea what was happening, and did not care for the main portagonist at all, despite all the stuff we're presented with at the beginning (or perhaps, BECAUSE of...)

For your convenience, I did not include a clip. You don't have to watch it again ;P



The intense little scene where Lee van Cleef's "Angel Eyes" sits down to eat with Stevens in his home- remisinent of the Tarrintino 'Inglorious Basterds' Opening scene with "Hans Landa", because of the similar character interaction, choice of using Close ups/Extreme Close ups, subjectively drawing the audience right into the middle of these tense conversations, ending with the musically highlighted violent conclusions.




A selection of still frames to refresh your memories of the camera conventions used in the 'GB &U" scene. The point of showing you these seemingly mundane "talking" scenes is to show you the possibilities in creating conflict and tension in your stories through not only script, but more so through your choice in camera, movement and composition, particularly in scenes which are basically two guys sitting at a table.




Acting helps too ;) But when you're an animator, you drive the acting.




This scene again shows the juxtaposition of the long shots with close-ups. Action and drama come from editing and juxtaposition of shots between the characters "eye balling" each other (which by the end of the sequence, are "extreme close ups", cut with their itchy trigger fingers. Note the 180 rule is always in effect- made easier by the fact the men are just standing there, but they never confuse the eyeline of the actors, and maintain their side of the shot when looking to one another.

(And what an awesome Morricone musical score ;) )





The Rule of thirds in play with this composition, and an interesting angle choice, due to the change in the normal eye level.


Extreme Close Ups towards the climax of the "stand off".


The Establishing shot- the circular shape of the grave yard centre, with the triangular shape of the three men, juxtaposed with a "sea" of crucifixes and tombstones.


Over the shoudler shot.

Fleischer's "Superman": The Mechanical Monsters.



One of my all-time favourite cartoon shorts, and my favourite in the series. Take note of the many uses of Upshots, Down shots, POV shots, Camera movements such as 'Tracking shots', that 'Dutch Tilt' establishing shot at the Museum...there's heaps in this cartoon. Plus, the diagonals at play in every composed shot.

The use of shadow and the silhouette is used throughout this short, and adds for an interesting storytelling device (what is shown, what is left for the audience to imagine).


Depth of field in play, and a nice composition example of using a darker foreground element to draw the eye into the main focal point (the primary-coloured 'Superman'), wit a blurred, soft/cool coloured background.)

Upshot, diagonals.


Depth from light/dark elements, composition seems "claustrophobic", as Superman is trapped under the fire and beatings administered by the mechanical men.


Notice these shots cut back and forth between one another when the Robot returns with the cash, and how the diagonals "balance", between one another.



The shots above and below are part of that tracking shot that takes the audience from the lab (where Lois was last seen) to where the mad scientist has Lois in an elaborate death trap. What is interesting about the tracking shot is the "pockets" of information we are fed about the location and it's relation to the lab, where the robots came from and what's in-store for Lois and Superman, without one word of dialogue, or cut to another shot. Storytelling through composition and camera movement.



Now that's a Down Shot!


A great long shot, using diagonals again, and light/dark elements/depth of field to  create that powerline focal point.

I really like the poses the Fleischers utlised in their series. I'd say the above example is almost "contrapposto", but the feet seem to have even balance. Nevertheless, far more interesting to look at than just an evenly balanced stance.

It's also a point towards the fact that apart from the closeup of Superman using his X-ray vision, we never see a close up of Superman, or even rarely a medium shot of him in action. They are almost always a full body, or an 'American' (cropped to knees) shot. What does this mean? ;D

We learnt that "power" is conveyed through upshots, such as the ones always used to show the robots. Is it that the feats of Superman verses the dangers he faces in his environment need to be shown, and therefore his characterization (in costume) comes from his abilities? Curious to know your thoughts.

POV shot.



Great Close up/POV shot of Lois.


Huge POV Upshot!

Batman: TAS Opening credits:

In my humble opinion, one of the best show intros ever- sets the total Mise En Scene for the series, we "get it" all in a one mintue intro. It doesn't even have a title. Who needs it? It's the Goddamn Batman ;P

Inspired by the Fleischer Superman series, I don't have to point to the similarities in shot dynamics, camera movements, angles etc. And, in the case of the credits, fully utilising the power of the silhouette, rim lighting, the importance of pose to relation to the "readibility" of a particular action or shot, and positive/negative spacing. Bruce Timm and Co. were not afraid to use Black. Compare this to other cartoons before this, and at the time. Strong Compositions and focal points, and the usage of Upshots/Downshots to convey power, and weakness/defeat. Barely any detail in objects, but enough understanding created through the use of shapes( to represent buildings, walls etc.), light (again, as a shape in itself) and pose.










Gotta go, see you next week! Don't forget, I want to see your 6 panel Shot selection exercises in class too ;)

Wednesday, August 8, 2012

"A few things we've mentioned that you should keep in mind" Storytelling points from Week 3 Powerpoint.


Again, here are those points I found within the notes that were a nice basic summary of some of the overview points we've been discussing in class. Think about the example scenes we've watched  in-class, where these points were used, and ultimately, how you can adopt these conventions into your own storytelling language.

Know the rules before you can play with them, to make your sequences entertaining.

Remember: Clarity, Empathy, Entertainment! That's what we're striving for ;D

1. Varied shots. Make some shots wide, others close.

2. Building tension. Show the audience what the characters don’t see. Cut to a bomb counting down. Show shadowy figures in the background.

3. Use Close-ups (C/U’s). Draw the viewer into the action.

4. Establishing shots. Give your viewers an overview of who is where to help them follow the action.

5. Cut-aways. Shots of a character’s fingers twitching, or trophies on a wall, can say more about a character than lengthy dialogue.

6. Extreme Close-ups. An extremely close shot of a character’s eye, mouth or finger will help enforce the urgency in what is happening.

7. Point of View shots (POV). Show the audience what your character sees from the character’s view point. Point of View shots (POV). Show the audience what your character sees from the character’s view point.

8. Motivate your shots. For instance, in order to have a POV, you need to first show the character looking toward something, which motivates a cut to their POV.

9. Over the Shoulder shots (OTS). This draws the viewer into the action and makes a scene more intimate.

10. Use as many drawings as necessary to show the action. (But concise storytelling is a skill in itself. Why use 3 shots when 1 will do?)

Quick Reference: Framing Shots according to character

(Taken from the book "Panel Discussions" Published by Twomorrows Publishing).
http://twomorrows.com/index.php?main_page=product_info&products_id=201

Assessments and Recap for those that missed it: 'Fill in The Gaps"

https://courseprofile.secure.griffith.edu.au/student_section_loader.php?section=5&profileId=68225

Find your assessments at the link above ;)

In Class Exercise 1 was the 'Fill in the Gaps', for those that missed it, very simple: You have this model sheet of my Koala character ('Baz'), and you have a 9 panel sequence, where the 2nd board is done, and the last board is "half done"- you need to include the Background/resolve/punchline to the short sequence. Try to stay to the 9 panels total if you can. When doing this, bear in mind the information given in that 2nd panel (but still open to a myriad of interpretations), and selecting appropriate shots, keeping in mind the 180 degree rule too.


And, to remind you, you need to get a solid idea for the final assessment task_ we'll talk more about this next week (taken from the link at the top):

Type: Assignment - Practice-based Assignment
Learning Objectives Assessed: 1, 2, 3, 4, 5, 6, 7
Due Date: 
         22 Oct 12     In class presentation, delivery Week 14
Weight: 50%
Task Description: 
Create a story for a predominantly animated short film, however this is not limited to cartoon style
character animation. The story should be around 3 minutes long.
Deliverables include:
visual development artwork (environments, character profile and design, preliminary sketches and reference image folio),
storyboard (including text/dialogue elements, sound design direction and general directors notes).
examples of moodboards of two sequences of varying tones
Full-colour Treatment image (style, genre, proposed visual treatment) - The "look" shot
3 or 4 correctly structured layout or pre-viz shots that concur with industry standards
An animatic is also required that indicates broad timing and pacing for the project.
Further details  and delivery instructions to be announced in class and with assignment handouts in week 2. The project is designed to develop a feasible script for possible production as a graduating project during the program. this is NOT intended to be the final idea that will be made, but a draft development exercise in realising the range of aspects that need to be determined to develop a good short project
NOTE: It is essential that this assignment be developed over the course of the semester, with demonstreted weekly updates on progress and creative development included in the deliverable. Each of the in-class exercises should be attempted alog the theme of this final projecct to develop the idea in many iterations.


Ok, that's all for this post ;)

Wednesday, August 1, 2012

Of interest: 'Jack Kirby and the Auteur Theory of Comics'



http://www.tcj.com/sdcc12-cac-session-7-jack-kirby-and-the-auteur-theory-of-comics/

An interesting discussion in the development of some of comic book, animation and cinema's best superhero characters. A comparison to Stan Lee and Jack Kirby's storytelling method in the 1960's, to the Auteur- Directors theory of French Cinema. Very interesting in regards to the writer/artist collaboration/co-creation, by friend and author of 'The Silver Age of Comic Book Art', Arlen Schumer.

Pixar: 22 Rules to Phenomenal Storytelling (from pbjpublishing.com blog)


http://pbjpublishing.com/blog/2012/07/09/pixars-22-rules-to-phenomenal-storytelling-infographic/


Take notes!  All relate to Clarity, Empathy, Entertainment. Antoher word I could mention in regards to narrative sotry is "Conflict"- the heart of every drama. If there is no conflict, your character's emotions don't change, and you have no story.

Hey, see no.4? that's your story idea template in 3 acts (and perfect to pitch). Remember that "pick two objects, and come up with a story" game? That's it!

The blog also put it all in text too (link is above):


#1: You admire a character for trying more than for their successes.
#2: You gotta keep in mind what’s interesting to you as an audience, not what’s fun to do as a writer. They can be v. different.
#3: Trying for theme is important, but you won’t see what the story is actually about til you’re at the end of it. Now rewrite.
#4: Once upon a time there was ___. Every day, ___. One day ___. Because of that, ___. Because of that, ___. Until finally ___.
#5: Simplify. Focus. Combine characters. Hop over detours. You’ll feel like you’re losing valuable stuff but it sets you free.
#6: What is your character good at, comfortable with? Throw the polar opposite at them. Challenge them. How do they deal?
#7: Come up with your ending before you figure out your middle. Seriously. Endings are hard, get yours working up front.
#8: Finish your story, let go even if it’s not perfect. In an ideal world you have both, but move on. Do better next time.
#9: When you’re stuck, make a list of what WOULDN’T happen next. Lots of times the material to get you unstuck will show up.
#10: Pull apart the stories you like. What you like in them is a part of you; you’ve got to recognize it before you can use it.
#11: Putting it on paper lets you start fixing it. If it stays in your head, a perfect idea, you’ll never share it with anyone.
#12: Discount the 1st thing that comes to mind. And the 2nd, 3rd, 4th, 5th – get the obvious out of the way. Surprise yourself.
#13: Give your characters opinions. Passive/malleable might seem likable to you as you write, but it’s poison to the audience.
#14: Why must you tell THIS story? What’s the belief burning within you that your story feeds off of? That’s the heart of it.
#15: If you were your character, in this situation, how would you feel? Honesty lends credibility to unbelievable situations.
#16: What are the stakes? Give us reason to root for the character. What happens if they don’t succeed? Stack the odds against.
#17: No work is ever wasted. If it’s not working, let go and move on – it’ll come back around to be useful later.
#18: You have to know yourself: the difference between doing your best & fussing. Story is testing, not refining.
#19: Coincidences to get characters into trouble are great; coincidences to get them out of it are cheating.
#20: Exercise: take the building blocks of a movie you dislike. How d’you rearrange them into what you DO like?
#21: You gotta identify with your situation/characters, can’t just write ‘cool’. What would make YOU act that way?
#22: What’s the essence of your story? Most economical telling of it? If you know that, you can build out from there.

A storytelling artist you NEED to know #2: Steve Ditko




An excellent documentary on one of my favourite artists, and a gentlemen whose name is often said in the same breath as 'Jack Kirby' in regards to the best storytellers in the comic field, Steve Ditko.

I had the pleasure of running into British late night talk show king Jonathan Ross while walking the isles of San Diego Comic-Con this year, ironically, he was talking Stan Lee and Jack Kirby to Neal Adams, another  fantastic illustrator. He said he still regrets the line of questioning regarding Stan Lee's opinion in regards to giving Steve co-credit status for Spider-man after all these years. I don't think it was that harsh, really. Anyways, I'm trailing off topic.

The point is, on the subject of storytelling, character design, and the creative process, Steve Ditko is a wonderful and interesting study. Only a handful of photographs of him are in existence in the public arena, and to this very day, he is a very private individual (I have a close friend who spoke to him recently, and he was reportedly a gentlemen).

Anyways, enjoy :)

p.s: I wrote a rather light-hearted, article about where the development of Spider-man came from, if interested. It is an eye-opener in a sense of how ideas aren't necessarily "spare of the moment", "or out of the blue". Often , elements of ideas are batted around for a long time, and need revision before the first incarnations in some sort of storytelling medium. http://girlygeekspeak.com.au/blog/spider-mans-origins/