Bla Bla Lectures His Son On Life (Short Film)

Take from it what you will. A short film with terrible and boring audio so I spiced things up a bit with bla's and facefarts.

I r8 bla/10

The first shot is to set the scene.  We can see the one on the left speak, so we can match that voice with that person. We then hear the other one, and match a different voice to that one. Lefts legs are moving, perhaps he is nervous.The shot switches to an across from the side. This shows more of the scene. Both of their legs nervously move in unison, perhaps a bla bla custom. It also shows the one on the right larger, and the one on the left looking up to him. We see it is windy outside, but where they are, they are protected. A shot of 2 heads. Pause. Makes it a little awkward or tense. We see left hesitate. Right hears what he has to say and takes it in, slowly nodding. His jaw tightens and retracts, perhaps because he is stressed by what he is hearing being currently bla'd. Perhaps right is not pleased with the response or is thinking about what to say. Left may be a bit scared of what right may say. He then moves his head in a disregarding way, possibly trying to lighten the mood. A shot to the side of rights head. This gives left centre stage on his response, but right is enough in focus that we can see him too. Cut to the same, but for right. Perhaps he just bla'd something deep and philosophical. Whatever he does actually say, it seems more important now, especially with the light hitting his face. Cut to wide again. Left looks a little unsettled by what he just hear being bla'd and shows his discontent with a facefart, possibly another of these strange bla bla customs.

Animation

My favourite: I really cannot decide. The Fat Cat was really good, and so was all the others. Even the live action ones can be made really good, although I prefer staying away from that. I prefer when animation is smooth rather then very fidgety and jerky, although sometimes that can add to the aesthetic. All these styles all add up to create a different feeling, and I can't really criticise each, as many things are intentional, like messiness of animation leading to a fear of things acting not as they should, from the uncanny valley. The uncanny valley is much easier to reach with stop animation as the models are 3d. Tricking somebody a 2d image is truly alive is much harder, because it lacks that depth.

Drawing animation is also very useful, but it can be hard to show depth and life like stop motion can, although it is possible. Perhaps mixing the two could create something interesting. With drawn animation smoothness is much easier to produce because it is only 2D: one less dimension to worry about. The biggest problem with 2D animation is however drawing the characters as if they are 3D. Figuring out how that body works is quite tough, while with 3D we can see the whole model, which makes 3D movement much easier

A style I once saw did attempt to combine these types of animation, kind of, seen in "The Paper Man". Something about the style just hits a high note for me. I could watch it all day. The animators wanted to hint back to the old days of 2d animation, but wanted to use their software. So what they did is do it all in 3d and using some tools made it appear to be more like a drawing. The film personally really captures this, using all of 3d computer animation's potential, but making it seem 2d, making the 2d animations really impressive as they seem to be drawn not 3d computer animated.

Here's the video. Sorry for the annoying annotations.

Here's the link so you can watch it fill screen. https://youtu.be/1QAI4B_2Mfc



Turns out this is not the full film. At least you can see the style I was talking about.



Here's the whole thing, but at a lower quality. Best I could find on youtube.




Again not the full film, bot you see more then the last one.

Shots-Luke Skywalker Vs Darth Vader: The Empire Strikes Back FINISH

Opens with a shot tilted down, looking from above at the grate. As Luke shoots up the camera tilts up, to match his height, at a medium kinda shot. Then as the centre hits the back of Luke's head, the shot changes to wide shot. Still shot from behind, and at Luke's level. Luke moves from the centre to the left. The shot stays still. Luke is framed by the steam and by the black bar. His feet are covered in darkness, but he wears a white like gown, to stand out. He looks very small in comparison to his surroundings. This shows vulnerability The shot of the grate again. It closes, and the shot quickly pans left and up following Luke. Medium. Luke stands taller now, looking down at the grate.His head rises, and then turns left to a profile, before looking towards the camera again. Switch to a wide shot, Luke is on the right, and is small. We seen stairs lit up by orange light, a complete contrast from the dark blues, drawing our eyes up. Luke looks around. Close up to Luke as he turns around. Switch to shot of Darth Vader, far away, but in the same position as Luke's head was prior. He stands still among the plumes of gushing steam. Back to Luke, close up, his head taking up the left and centre of the frame. His face stays emotionless and still, but his neck and chest bob as if heavily breathing, but attempting to seem calm. His head glides from left to right across the frame and he walks. He leaves the frame, and the background is seen. Same shot of Darth Vader. Breaking in from the bottom left Luke, walks up the stairs as a black silhouette. Luke is visually closer. We see him rise and get more to Darth Vader's height, but just under. Switch to a shot over Vader's shoulder. We see Luke in front of an orange circle to catch out eye. Luke walks up a few steps and then slowly and hesitantly takes another step, as he reaches for his Lightsaber. His hands are by his side, but ready. Switch to the next shot. Same as before with Vader, but this time Luke is taller. The lights on the stairs are under Luke, but not Vader. Vader is turned towards Luke. A shot showing Luke's torso. His arms outstretch and his Lightsaber cuts through the centre of the frame. Shot to Luke and Vader on opposite sides. Luke is taller, and has his Lightsaber pointed towards Darth Vader. Although his body does not take up more space then Vader, with the help of the Lightsaber it seems like Luke is bigger. Darth Vader draws his Lightsaber with a slow overhead swing, with emphasises size. Cut to a closeup of Luke's face, as he looks to the right of the camera. Unflinching. We see a wide shot of the two, with Luke's legs in a defensive position, resting on his back leg. Darth Vader is just a large block due to the cape so he looks stronger, while Luke looks more ready to pounce, but cautious. The Lightsabers are crossed. Luke Swing rather gymnastically, with a wide swing over his head, and Darth Vader springs slowly into action, easily blocking the swing with little movement. Darth Vader, pushes Luke's Lightsaber back. Luke retreats to his former stance, and Darth Vader quickly wings his Lightsaber over his head, and then settles into a forward like stance with his arm, ready to poke. Cut to Luke, we see Darth Vader's Lightsaber at the bottom right. Luke lunges over with an overhead swing. Show a wide shot of Luke swinging over head, making contact with Darth Vader's Lightsaber. Luke moves very enthusiastically, while Vader remains almost still. A shot to behind Vader as Vader pushes Luke away, and down. 0.58

Types of shot

close
far
wide
2 shot
media
fisheye lens
portrait
landscape
dutch angle

• Wide
• Close Up
• Medium Close Up
• Ultra Close Up
• Wide 
• Over The Shoulder 
• High Angle 
• POV
• Dutch Angle 
• Bird's Eye View 
• Worm's eye 
• Vertigo
• Medium
• Medium Long 
• Low angle 
• 
  

Production Of A Movie

Pre-Production

This is all about getting ready for the film. Hiring, Funding, Concepts, Casting, getting kit, Storyboards, testing and Hiring Crew. This section has the largest selection of roles and is almost as important as the finished product itself. This involves scouting for locations, as well as prop design. It's very expansive, and often sifts into the other stages of production. Marketing nowadays also is present through every stage. Story also follows suit, as it is likely to change during production.


Production 

The making and shooting of the film. This involves shooting, lighting, acting , make up and the rest of the other roles to be expected. It also involves some unexpected things,such as catering. You need to feed your crew, and keep them healthy. When shooting outside this is all especially important. Food, water, housing, security; keeping the crew alive, as well as actually making the film.


Post-Production

This is after the film has been made. This stage involves editing, marketing, PR, making a trailer, getting a real soundtrack, getting sound, and releasing the film, both general and the premier. Films with heavy CG stay in this phase for quite a while, but that is to be expected, although in the future this may not be the case.

Blue's Brutal Demise...nom.

Stop animation film me and Rory Haresnape made in about an hour.

RIP blue

Darkness Light Darkness Jan Svankmajer

Well, this was an interesting animation. I've seen it before but so it was not as shocking as the first time, but I jut found it intriguing and entertaining. The animation is really smooth, but not smooth enough to be lifelike, but close enough. The use of using the plasticine as more then a unchanging model worked really well, and made the whole construction a little more believable, as it was...consistent. Like a process that may actually take place.

So a message...perhaps how we see the human body as something beautiful, but when we seperate it into parts we see the ugliness and ridiculousness of it all. Perhaps it's a fear of being finished, when you can no longer improve. Or perhaps a fear of puberty, hence the cock and balls being a scary monster and and the rest of the body being scary. These little details don't matter to a child, but as yiu grow up, it becomes a much more inportant thing.