WEEK 1 – Mise en scene and camera animation
Today in George’s class, we dove headfirst into the fascinating world of mise-en-scène. It’s a French term that basically means everything you see on screen in a film or play – the set design, how the actors are positioned, and even the lighting. But it’s not just about aesthetics. Every element of mise-en-scène is like a hidden message, whispering clues to the audience about what’s happening and how we should feel.
George, likened us to film directors. We have the power to manipulate the audience’s emotions through these visual choices. It’s like a secret language, and understanding it unlocks a whole new level of appreciation for the film!
Here’s a breakdown of some key elements of the Mise-en-scene:
- Settings & Props: Imagine a dark, cluttered room with cobwebs. It instantly screams “something creepy is about to happen,” right? That’s the power of setting. Similarly, a prop like a worn-out teddy bear can hint at a character’s lost childhood.
- Costume, Hair & Make Up: Ever noticed a villain in all black? Or a nervous character constantly fiddling with their hair? These details tell us a lot about a character’s personality and state of mind.
- Facial Expressions & Body Language: A furrowed brow, a confident stance – these nonverbal cues speak volumes. They can reveal a character’s hidden emotions and motivations.
- Color/Lighting: Think of the difference between a warm, sunny scene and a cold, dimly lit one. Colors and lighting set the mood and atmosphere, influencing how we perceive the story.
- Positioning of Characters/Objects: Where something is placed within the frame matters. A character standing alone in the center screams “isolation,” while two characters positioned close together suggest intimacy.
George emphasised keeping it subtle. We don’t want to hit the audience over the head with obvious messages. The beauty of mise-en-scène lies in its ability to subtly guide our emotions and understanding of the story.
Before we can work on the Mise-en-scene George emphasised the importance of building a strong foundation. In order to do that we have to ask ourself some questions:
- Where’s the story unfolding? Is it a neon-drenched cyberpunk alleyway, a dusty Wild West saloon, or maybe a futuristic space station? The location sets the tone for everything else.
- What time period are we dealing with? Is it a high-tech future filled with robots, a medieval kingdom ruled by a tyrannical king, or just a regular ol’ present day with a sci-fi twist? Knowing the era helps you dress your world appropriately.
- What are the rules? Does your world have its own set of laws, a dominant religion, or maybe even a pantheon of gods? Understanding the governing forces helps you create a believable and cohesive world.
The more defined your world is, the easier it becomes to tackle the other aspects of your still. Characters, costumes, lighting – they all become natural extensions of this world we’re crafted. It’s like building a Lego set – each piece has its place, and together they create something awesome. Once your world is built, it’s all about strategically placing these elements within the frame. We want our audience to walk in and instantly understand the vibe.
What if we want to be a little more mysterious, to draw the audience in and make them wonder? That’s okay we have just to make sure it’s deliberate. Don’t throw things in just to be confusing. Every detail, every element, should have a purpose – to tell a part of your story.
Worldbuilding isn’t just about creating cool landscapes; it’s about creating a sense of place, a feeling, an experience. Thanks to George, I finally understand the secret weapon that can take my stills from good to great!
Now, George started by reminding us that while worldbuilding might seem like heavy lifting, creating characters can be deceptively tricky. Sure, we can dream up cool names, quirky personalities, and maybe even a tragic backstory. But the real magic happens when we ask ourselves:
How do these characters react? We’ve established the rules of our world, the laws of physics (or lack thereof!), and the general vibe. But how do our characters navigate this world when things get thrown their way?
Here’s where things get interesting. These reactions, according to George, are the golden nuggets that define what happens in your shot. They’re the fuel that drives the story forward.
It all boils down to character choices. Body language, facial expressions, even the way a character holds a weapon – these choices, when made with intention, can elevate your still from a pretty picture to a story waiting to unfold.
George even threw in a bonus tip: don’t forget about body mechanics. A character in heavy armour might move differently than a nimble acrobat. Understanding how the body moves concerning the environment and the character’s own physical limitations adds another layer of realism and believability to your still.
Alright everyone, back for another round of animation wisdom from the one and only George! Today, we delved into the fascinating world of previsualization, or “previs” for short. Buckle up, because this stuff is mind-blowing.
Previs the short term for previsualization It’s essentially visualising the entire scene beforehand, complete with camera angles, character movement, and even special effects. It is a rough sketch of our animation – a blueprint to ensure everything runs smoothly when it’s time for the real deal.
So, why should we, as animators, care about previs? Great question! According to George, previs is more than just a fancy tool for directors. It’s a skill that can benefit all of us tremendously. Here’s why:
1. Blockbuster cred: Previs is becoming increasingly common in the animation industry. Just like those big-budget VFX movies, many animated films rely on previs to plan their shots. Learning previs can put you ahead of the curve and make you a more valuable asset in the industry.
2. Planning for success: Previs allows you to quickly test out camera movements and character performances. You can see if your ideas actually work before you spend weeks animating them. This saves time, money, and a whole lot of frustration!
3. Filmable, not fantastical: Previs isn’t just about creating cool visuals; it’s about making sure they’re actually achievable within the limitations of animation. Learning previs helps you develop a sense of what’s physically possible, making your final animation more believable and dynamic.
I want you to draw on paper or on your computer/ tablet 3 ideas you may have for your final project. These don’t necessarily need to be completely thought out just really rough concepts exploring different angles/shots etc. Make sure you make full use of what you have been shown today. If you are drawing on paper make sure to scan and upload them to Syncsketchby next lesson for review.
Please keep in mind we will be diving deeper into these ideas each week and eventually fleshing out 3 previsshots. PRE VIS ……NOT AFULLY ANIMATED FEATURE FILM! Don’t go mad have fun with this please.
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