This week, I am going to be blogging about Spirited Away – in particular, its animatic.
Following the ‘Storyboarding’ workshop last week, I decided to really look at the transition from animatic to the final product.
A few things we discussed in regards to animatics were:
To have black at the beginning and end of the animatic.
This informs the audience of its beginning and end so that the audience can mentally prepare to pay attention and not miss out any initial details.
Adding sound: before or after?
Although most productions involve recording sound first and then animating, in an animatic, the reverse may be preferred.
Music can represent various events. This is especially evident in the scene of Spirited Away where the family car crashes. We can use music to indicate an event at a specific timing.
Never slide characters across the screen in an animatic for movement.
Never have writing on the screen to indicate voices.
Spirited Away Animatic:
It was really eye opening to see the animatic after watching the final product so many times. There is a clear difference between the animation and animatic. The drawings are a lot more detailed in the final cut whereas the animatic aims to capture the scene, layout and action. The use of music is especially effective in the opening scenes where we are discovering a new world.
Following the workshop with Robert Bradbook on storyboarding this week, I learnt some really cool aspects within animation!
The animation we focused on was Pixar’s Knick Knack, considering composition, camera movement and the effect that it creates.
We can use camera shots alongside camera movement to create a certain effect or to present characters in certain ways.
1. Types of shot:
2. Types of camera movements:
Established Shot & Tracking (0:45)
This established shot sets the scene and scale of the toys for the audience, while the tracking emphasizes the distance between the snowman and the rest of the toys.
Medium Shot & Cutaway & POV
The medium allows us to see the snowman’s facial expression and in particular his reaction to the POV. The close-up POV also acts as a cutaway and allows the snowman to move and change to a full shot.
Composition: Crossing the line.
It is clear that the right side belongs to the snowman, whereas the left side is where the rest of the toys are. This is always clear and consistent as the characters never cross ‘the line’ after the scene is set in the established shot (0:48).
Interestingly, in the end, when we think that the snowman has finally reached his goal, the directer switches his position to be on the left side of the screen – suggesting that he is finally where he wants to be.
We then realise that this is not the case as the snow globe then slowly falls on top of the snowman again.