This time around, for the apartment blocking for the animatic I looked up some standard measurements for floor to ceiling height and door height.
Room height should be between 2.4m to 2.75m which I found here:
Height and size regulations for rooms: http://theconstructor.org/building/building-bye-laws/height-size-regulations-for-rooms/5116/
Information on doors: http://www.build.com.au/standard-door-sizes
Habitable room and ceiling height: http://www.abis.com.au/habitable-room-and-legal-ceiling-heights
When I was creating the measurements of the last apartment that I blocked I made the ceilings taller than this but I suppose measurements can change depending on the architectural style, like high Georgian ceilings.
This video has a useful side by side comparison of the storyboards and the the final shower scene in Psycho (1960) (Alfred Hithcock and Saul Bass). It’s interesting to see how the storyboards capture the key facial expressions and actions of the scenes but then the final camera work takes extra shots to develop/take advantage of other compositions on set.
Who Directed the Shower Scene in PSYCHO? from Vashi Nedomansky on Vimeo.
I found this other article with examples of storyboards used on Hitchcock films.
I liked the simple use of tone on these and how some of the backgrounds are impressionistic but still effective.
For the sounds, I made a list of everything I thought we would need, bookmarked the best clips I could find on freesounds.org into a folder and then downloaded them all for Sorcha to pay around with when she was editing all our animatics together. Sorcha and Andrew Coyle also made recordings for some of dialogue that we would need.
- Buzz of automatic lights coming on in hallway
- Ringtone – retro games,
- Footsteps on wood or carpet
- Key jingles and turning
- Door opening
- Click of phone going off
- Television sound – what would Julie be listening to? A presenter at concert awards, an anime battle with superheroes, cooking show with cat host, ice cream advert, news flash, ‘lonely nights in’ tv show, something Julie can respond to, a quiz show with funny questions, a quiz with questions reminiscent of the year they met,
- Crackling of fireplace or low roar of fire in hearth
- Premonition: ? Swish, roar, scrape of rough material, clacking, yawning winds, whirlpool, suction, sighing (QOTD flashback noise),muffled voices, fuzz, indistinguishable words, rewinding tape, clocks
- Traffic outside
- Rain hissing against the window, storm
- Muffled steps on carpet
- Cat purring
- Sofa fabric and subtle creeks moving
- Clicks of steps on kitchen tiles
- Opening fridge door
- Clink of bottles moved in fridge, clunks of moving trays/tubs in fridge
This is my folder of clips so far:
Both Aidan and Molly weren’t too fond of the idea of lots of voices during the premonition and thought it too horror. There’s still a lot to develop for sound alone.
This is another animated short that Sorcha showed the team.
Dark Noir from Gillian Glendinning on Vimeo.
Not only does it have beautiful lighting and textures but it is also a great example of how 2D animation can be mixed with 3D. The fluidity and surreal quality of the creatures is inspirational for how we could make the premonition scenes and transitions into the premonitions. We admitted that trying to achieve that level of 2D animation quality would be a bit daunting but we are keeping it open as an option.
Sorcha found this short film from Lightning Boy Studio, Le Gouffre (2014). Molly, Aidan, Sorcha and I have been discussing for a while how we would like to create a painterly look, especially since our visit to the Ulster Museum and seeing Rembrandt’s self-portrait. We agreed that Le Gouffre is a good example of the direction that we would want the painterly look to take.
Le Gouffre from Lightning Boy Studio on Vimeo.
I found this blog post, Week 55 – Camera Projection Technique, which goes into detail about how Lightning Boy Studio create the textures for Le Gouffre. They create a scene with low detailed textures, create a new camera which covers all of the the views from the shot camera and then use this for creating a render which is painted over in Photoshop. This painting is then projected on top of the scene.
They use this technique so that their computers aren’t overloaded with large texture sets. This method also gives them control over the amount of detail in fore, mid and back-ground.
I’m not sure if we should try and use this technique for the pitch video or try and create a similar solution which will work in real time.
The Art of Storyboarding with Ridley Scott
This week we are focusing on creating storyboards to show a scenario that demonstrates the choice mechanic in 13 Songs. I consider storyboarding an important skill that I haven’t got the grip of yet. With this scenario between Julie and William, the challenge is to make a quite mundane scene really connect with audience while still remaining interesting visually. This short video from Ridley Scott has a few directions to think about/look into.
I like how attentive Scott is to the shape that light makes. Even from the storyboarding stage, Scott is crafting the scene with an attention to how light will shape the composition. Even on a car journey he is “reading the performance of light on objects”.
Storyboards help Scott to articulate exactly what he wants to achieve with the team.
Look at what Hitchcock did with storyboards.
Get rid of the white immediately. Bash through and get the idea down straight away. Then there is something to improve upon. Storyboards get you sucked into the scene so that you can see opportunities e.g. acting and staging.
Even two talking heads can be made more interesting but they can also be interesting by themselves. You should know when to pull back.
Colour and light design will of course be very important in the user experience. The quick colour and light that I painted over my 3D renders still feels very unnatural and doesn’t capture the best mood and quality of light that the scene could have. I saw the video above on Bobby Chiu’s channel and really love the quality of light that Fowkes creates by layering of textured light over less saturated hues.
- Primarily in nature the beauty is in the greys – warm and cool greys.
- Paint the colours in the way that they really exist e.g. lay down the warm local colours and then paint over with the cool shadows.
- The deep shadows are almost always a deep warm colour e.g. the crevice in a log.
For this scene with backlighting and a warm sunset:
- Start with vibrant warm tones.
- Start to apply greys, letting the highlights and brightest tones shine through.
- Add subtleties to the darker tones.
- Apply light over the forms.
Image from Fowkes’ DeviantArt journal: