One of the many things an animator can take full use of is the idea of "Space" within the frame. This means that there is 3d space surrounding the character, and you can use that to express depth through use of PERSPECTIVE. If you're sitting in front of the camera, let's say medium shot, and extend your hand out toward the lense, your hand will become GIGANTIC!! it's so easy, yet I'm surprised many don't take full advantage of it. Above are some keys from "Masks" that demonstrate what I'm talking about. and Below, used to a lesser extent it can add an amazing dynamic to your action, you can see it used in subtle ways in any Disney film:
Perhaps we use it most often in action related motion. Like this still from the chase scene in "Puppet": (note how TINY his other hand is!)
The real rad thing is, when it comes to color, you can push the element even closer to the camera by darkening it.. because as we all know, less saturated elements tend to be pushed back, and darker elements come forward.. just look at this excellent background from "home on the range":
Hitchcock, of course, was a master at using this concept, this highly layered example below is from "Life Boat":
Here's another great use of a dark foreground element from "Longest Day":
Okay.. that's all the blogging I have in me today. gotta hit the horrible and daunting scene 39 from Masks. For the record, Bill has finished a feature and 4 short films in the time it's taken me to animate my new short. But I have more fun;)
One of the many things an animator can take full use of is the idea of "Space" within the frame. This means that there is 3d space surrounding the character, and you can use that to express depth through use of PERSPECTIVE. If you're sitting in front of the camera, let's say medium shot, and extend your hand out toward the lense, your hand will become GIGANTIC!! it's so easy, yet I'm surprised many don't take full advantage of it. Above are some keys from "Masks" that demonstrate what I'm talking about. and Below, used to a lesser extent it can add an amazing dynamic to your action, you can see it used in subtle ways in any Disney film:
Perhaps we use it most often in action related motion. Like this still from the chase scene in "Puppet": (note how TINY his other hand is!)
The real rad thing is, when it comes to color, you can push the element even closer to the camera by darkening it.. because as we all know, less saturated elements tend to be pushed back, and darker elements come forward.. just look at this excellent background from "home on the range":
Hitchcock, of course, was a master at using this concept, this highly layered example below is from "Life Boat":
Here's another great use of a dark foreground element from "Longest Day":
Okay.. that's all the blogging I have in me today. gotta hit the horrible and daunting scene 39 from Masks. For the record, Bill has finished a feature and 4 short films in the time it's taken me to animate my new short. But I have more fun;)
Nice stills. With students, all too often I mention perspective and there are blank stares and yawns, but then, mention that "z-axis" and they nod and drool! A symptom of digital jargon familiarity, no doubt. But it's all depth, use it or lose it!
ReplyDeletecan you imagine john singer sargent using "z axis"? haha.. well.. maybe.
ReplyDeleteHa, that's funny...I was just searching around and studying one of my favorite user of perspective and space around a character - Terry Gilliam. Of course, not animated films, but great examples of space none the less. Good note Pat.
ReplyDeleteCan't wait to see this film of yers!
Nice blog.very interesting ,I really enjoyed to be reading it.
ReplyDelete