So, this is a shot from my all time favorite animated cartoon series, Chowder. =)
Wednesday, February 24, 2010
Extended Frame Exercise
So, this is a shot from my all time favorite animated cartoon series, Chowder. =)
chapter 05 - Summary
Chapter 5 - The Extended Frame
In chapter 5, Begleiter talks about why extending a frame of action is necessary. She describes the use of extended frames as showing how a shot begins and how a shot ends. The extended frame goes on to tell the director and camera operators how to frame the shot and what to focus on. It also will explain the type of shots/angles to use. ie: a dolly/zolly, pan, tilt...etc.
Extended shots are useful in showing the entire scene, and not just where the action is happening. It gives the frame a fuller picture.
In chapter 5, Begleiter talks about why extending a frame of action is necessary. She describes the use of extended frames as showing how a shot begins and how a shot ends. The extended frame goes on to tell the director and camera operators how to frame the shot and what to focus on. It also will explain the type of shots/angles to use. ie: a dolly/zolly, pan, tilt...etc.
Extended shots are useful in showing the entire scene, and not just where the action is happening. It gives the frame a fuller picture.
Tuesday, February 9, 2010
Chapter 04 - Summary
Chapter 04 - Aspect Ratio
standard aspect ratios:
tv/computer screens - 1.33:1 (4:3 or academy standard)
16 mm film/european projection - 1.66:1
american projection - 1.85:1 (standard ratio, post 1950's)
widescreen super 35- 2.35:1 (70 mm, widescreen, cinerama, cinemascope)
high def - 1.78:1 (16:9)
IMAX - 1.43:1
How to compute the aspect ratios into storyboards:
take the aspect ratio and multiply it by the number of boards you want.
ie: for a high def storyboard with four shots - 1.78 x 4
Letterbox format presents the film as it was filmed but is cut off with black boarders on the top and the bottom. about 1.85 or cinemascope film.
Pan and scan is the reformatting of the original composition to fit the aspect ratio of 1.33:1 of TV.
standard aspect ratios:
tv/computer screens - 1.33:1 (4:3 or academy standard)
16 mm film/european projection - 1.66:1
american projection - 1.85:1 (standard ratio, post 1950's)
widescreen super 35- 2.35:1 (70 mm, widescreen, cinerama, cinemascope)
high def - 1.78:1 (16:9)
IMAX - 1.43:1
How to compute the aspect ratios into storyboards:
take the aspect ratio and multiply it by the number of boards you want.
ie: for a high def storyboard with four shots - 1.78 x 4
Letterbox format presents the film as it was filmed but is cut off with black boarders on the top and the bottom. about 1.85 or cinemascope film.
Pan and scan is the reformatting of the original composition to fit the aspect ratio of 1.33:1 of TV.
Chapter 03 - Summary
Chapter 03 - Text, Image, and Diagram
The three main types of pre-production documents are the shot list, the overhead diagram, and the images.
The shot list determines the scale - relationship of the camera frame to the subject/object, angle - the position of the camera in terms of height and horizontal placement, camera movement - movement during a shot, blocking - where the characters are on the set and where they will be moving to in relation to the screen, and script notations - the dialog that goes with the camera movement and action.
Begleiter goes through the many descriptions of the different camera angles and movements, and the editing and transitions of the camera.
Overhead diagrams provide sketched out placements and views of the cameras which include where the actors and props are in relation to the cameras. It shows the set up and movement of camera and actors. Lines, icons, colors, etc. are very important in this diagram.
The three main types of pre-production documents are the shot list, the overhead diagram, and the images.
The shot list determines the scale - relationship of the camera frame to the subject/object, angle - the position of the camera in terms of height and horizontal placement, camera movement - movement during a shot, blocking - where the characters are on the set and where they will be moving to in relation to the screen, and script notations - the dialog that goes with the camera movement and action.
Begleiter goes through the many descriptions of the different camera angles and movements, and the editing and transitions of the camera.
Overhead diagrams provide sketched out placements and views of the cameras which include where the actors and props are in relation to the cameras. It shows the set up and movement of camera and actors. Lines, icons, colors, etc. are very important in this diagram.
Monday, February 8, 2010
Chapter 02 - Summary
Chapter 2 - Storyboards in PreProduction
In ch. 2, Begleiter tells us the importance of the 5 W's (what, why, who, when, & where - in that order!) and the difference between editorial storyboards, key frames, production illustrations, and commercial boards.
Editorial Storyboards:
-how the shots are going to be edited together. not the order of shooting.
-shows off the creative concept of the director
-8.5" x 11" format, one to four frames per page
-Focus on the camera angles and composition of shot
Key Frame:
-higher rendition than the editorial boards.
-shows only the highlight images from a sequence; the most important scenes.
-8.5" x 11", one image per page.
-usually a sales pitch.
-suggests mood and style.
Production Illustration:
-fully rendered and highly polished
-WS of the set, 14" x 20", one per page.
-creative concepts from the production designer, to show to the director and producer.
-focus on the color, texture, furnishings, and the spacing.
Commercial Storyboards:
-highly rendered, colored images.
-the creative concepts of the advertising agency.
-presents the idea to the client, doesn't include camera moves.
-6" x 8", mounted to a board and shown in sequential order.
-used to pitch the ideas and to get directors to bid on the commercial idea.
Begleiter also elaborated on how to prioritize what should be storyboarded based on budget and time.
1. special effects
2. stunts/pyrotechnics
3. crowd shots
4. action sequences
5. complex camera movements
6. montage sequences
7. opening and closing scenes
My Storyboard & One paragraph story
In the city of Fields Forever, little Strawberry Mary has decided that she wants to go out and explore the neighboring towns. No one has ever gone outside of Fields Forever and come back to tell about it. Along the way she goes on many exciting adventures and meets new friends such as Blueberry Billy, Pear Blaire, Tangerine Noreen, and many more. As Strawberry Mary leaves Fields Forever and moves travels to new cities, she learns about herself as well as others.
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