(Image XIX) This is part
of the Storyboard.
Storyboard to Director Chen who has worked in cartoon images structuring
instruction for many years, the treating of shot and moving of
cameras etc. has long become a kind of his occupational natural
response. He himself had spent some time working on movie's language
program, so he completed more than one hundred images by spending
only half-day's time, which just to have caught up the time for
script discussion meeting with BMG. The confirmation of storyboard
has also announced the starting action of dftc Digital images
3D animation elite team. Here are some points we would like to
provide for your reference:
a. Clearly define every shot according to movie program such as
close-up, medium shot, medium long shot, long shot and panorama
etc., and understand when to use what kind of shot.
b. Clearly under the timing and method of application for camera
operations such as "pan", ""zoom" and
"follow" etc. But the problem is inside 3D, moving of
a too long shot would generate too much computer data that would
stop it from moving. So, sometimes it's hard
(Image XX) Due to fast pondering
and drawing, so beautification of the images was not done
to fulfill both actual and ideal.
c. The changing of long and short shots can produce excellent
rhythmic sensation. For example, very short shots in a succession
of time can provide nervous mood to audiences.
d. Every shot has a clear point of view. Make audiences to arise
the feeling of "in part of the scene". For instance,
horror movie loves to use "subjective viewpoint shot"
very much. That would make the audiences, although can not see
the main cast, but to sway according to the shots in a manner
that the audiences would feel likely to be in the scene as part
e. The direction of action, line of sight and incoming & outgoing
scene must hook-up with motion and position. For instance, one
scene focused a person's hand to open a drawer, took one thing
from inside, but before his hand getting away from the drawer,
the next shot is focused to his whole body, his hand needed to
begin from the position of the previous scene, then after taking
the mysterious object, he turned around and left.
The previous works up to now are deemed to have come to the end
of a section. Director Chen himself alone has worked from imagination
to design and the completion of script. It is visible that the
follow up 3D animators are ready to begin putting these "planning
on paper" into practice. Everybody is expecting, hoping to
see the final production earlier. From this, he has become to
understand the concept of traditional animation is still quite
necessary in modern technical territory. The two things merely
differ in tools for application, actually the method of expression
is the same. In this musical short movie of BMG, the working partners
of "Digital Frontier Technology Corporation" have linked
up with their personnel of different professional skills to create
a brand new visual effect.
In the next special column, Director Adam Juang will continue
to tell you about the behind portion of 3D production for "4
in Love". You will understand the entire process of a 3D
animation and how the work team has applied this set of Maya software
to cope with many problems to accomplish this "Mission Impossible"!