WOW! FloobyNooby has just posted a very detailed and extensive breakdown from Pixar’s Incredibles of “ how the relationships of all the visual elements on. Apr 25, Flooby Nooby: The Cinematography of “The Incredibles” Part 3. Oct 9, Flooby Nooby: The Cinematography of “The Incredibles” Part 2.

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The production design and cinematography of “The Dark Knight” worked together to impart a sense of dread, a feeling of the decaying world collapsing around the characters thanks to the wide-angle photography. It’s easy, once you’ve thought through your idea, to think that your drawings are explaining what’s inside your head, but the viewer doesn’t have the benefit of hearing your thoughts.

This allows for nice negative shapes around the characters, and allows you to draw the key players and props with easily-readable silhouettes. There’s no way Clooby going to waste my time drawing all those falling Krabby Patties until the final drawing below.

By using Opposing Poses like in some of the examples shown below, you can have characters curved or directed on an arc, flokby characters have straighter poses, but still aimed on an angle. A common mistake of less experienced storyboard artists is framing their shots too tightly.

These natural lines can strengthen composition by leading the viewer’s eyes toward your subject. You’ll see what huge challenge it can be to clearly and accurately tell the story in an effecient and entertaining way. Since these were done for dlooby advertising campaign, storyboard artist Sherm Cohen had to make sure that they looked as close to “finished art” as possible because they were being looked at by non-animation people.

If chance permits, take a closer look at the film and you will discover that the Rules of Thirds is used noovy, again and again throughout the entire movie:. Up shots tend to make the character seem bigger, more menacing, more powerful.

This helps your poses “read”, it makes them clear and understandable and gives them a distinct non-ambiguous direction. So don’t be embarrassed to trace over things, rlooby will learn a lot.

His photography gave “Raiders” a classic feel, visually paying homage to the matinee thrillers of the ‘s, while also raising the level of quality and aesthetics of ‘s blockbuster filmmaking. No one explains it better than Preston Blair: Composition played an enormously important role here in creating tension and interest in the shots when flooby camera was locked down.


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You can’t quite see it with these scans, but there are faint sketch lines visible on all the clean-up drawings shown here. If your subject fills most of the frame, position a focal point at one of the intersections.

The one thing that will always bring your drawings to life is the ‘line of action’ or the imaginary line that dictates how the body will move. Hoytema frequently frames his shots with long lenses, allowing vertical and horizontal lines to remain parallel to the edges of the frame, giving the feeling of the shapes within the frame. Check out this short sequence by Megan Nicole, Straight-forward and effective body language and expressions, with simple shot compositions that help to tell the story.

It’s kind of like what a blind person would do when they touch things. Fill up some pages of thumbnail sketches portraying as many expressions as possible. You are adding another sense while studying. Sometimes the mind seems to trick us into thinking a certain line or shape is different than exactly what you see in front of you.

This is a good example of not drawing lots of detail until you know that the shot works.

noony Secondly, their use of this nearly square aspect ratio enhances the emotional and psychological effects of the use of wide angle lenses and long, parallel stretches in production design and location work. Eventually you might make note that the dog character has a nice aura of negative noogy not touching any other characters so it may be the story is about him. So with having the added sense of feeling, of going over the same lines that are there, you are able to see and feel the shape, length, direction, thickness, rhythm of each line.

In Stanley Kubrick’s “The Shining,” for example, the converging lines of perspective gave the film a claustrophobic feel, as if the walls of the Overlook Hotel were literally collapsing onto the mind of Jack Torrance Jack Nicholson.

No one in real life does it either, even army kids don’t stand completely up and down, their backs are slightly arched. Is the focus the large cat to the left?


It is normally just one part of a sequence, but an essential bit that the viewer absolutely needs to see in order to fully grasp the story being told. Or find someone you trust and bounce it off them once in a while. Get the shots you need by checking your storyboard and give yourself the time and freedom to experiment. As an exercise, try adding in these five tones to a line drawing you’ve done or add them to another artist’s line drawings just to practice.

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This also has to do with pacing Where exactly are you supposed to look?

Ron Doucet

These are more than acceptable in any storyboard clean-up. Here are a sample of images from “Raiders” where Slocombe and Spielberg focus on characters’ eyes. The two drawings above drawn by Sherm Cohen show the difference between the cleaned-up storyboard drawing drawn with 3B pencil on standard storyboard paper and the rough drawing done in ball-point pen on a Post-It noobj.

And the lower in frame that they are, the more powerless they tend to feel. Most storyboard artists and animators follow this method as a basic principle for planning out the acting and motion of the animated characters – their attitude and behaviors become expressed through their physical body. Of course, I’m not suggesting that if one should start applying the rule that he or she will instantaneous achieve breathtaking, beautiful results; as always noboy is a case of careful observation as well as a combination of other equally important ingredients like lighting, colour, framing, perspective, space, balance, depth, and leading lines that truly bring out the full effect, no doubt what David Fincher and Darius Khondji did this when shooting Se7en.

Even a close-up should have a bit of breathing roomunless it is the rare occasion of an extreme close-up. That’s a very tough limitation, and you need to keep your “objective eye” in check, so that you can step back and look at your work once in a while and see it the way fresh eyes will see it. Her frame is supported by the various vertical glooby formed by the 2 pillars and the windows in the background.

Every character is drawn with a specific expression that reveals their characterand advances the story.