Monday 8/1:
NO digi but Harry got text notes from Carlos
165 Brainstorm
some great ideas for shots and structure that may be too late?
tweaks to Saf's previs for the Chip ideas in 165.
waited for a marketng call for theatricals that never came
Ferd looking too small next to other bulls:
Use cameras from 155_FIRSTDAY previs to pose Ferd and
bulls with scale wedge. This is for possible GLOBAL scale change.
Tuesday, August 2, 2016
Wednesday, March 30, 2016
Friday, March 11, 2016
Style Thoughts
Ring Education
Outside (and some inside) the box ideas
Working in Poses!
Put on your 2D animation goggles
Big, Small, Tiny
Golden Ratio--simplify to Rule of Thirds
The story telling poses are half the work--Drawovers!
Sang June, BJ, JJ, Graham
Adding straights creates tension and energy.
-Personality Traits vs Species Traits
What does a bull brain and body do? What does vain or neurotic or excitable personality do?
-Caricature vs. Naturalism
-The greater the Graphic Abstraction of design, the more stylized the possible motion.
-At the same time, our challenge is to make things feel emotionally and viscerally real.
So we need to stylize motion to make the bulls feel HEAVY. Heavy things have inertia. If they are
still they don't want to move, and if they are moving they want to keep moving. We need to caricature this phenomenon thru timing, so heavy things aren't generally snappy and we need to find a balance.
-In our situation, we can only lay down some guideposts, but we will
refine the path in the first few sequences.
-It will be easy to overpose El Primero to the point he starts to
lose importance or gravitas. He is not a clown. Even though he is thin, he should generally move with reserve, dignity, and weight until the passion is expressed in bold quick poses and flourishes.
Representing defiance, Primero should always be angular and linear. A wall or barrier. His poses and action should serve to block the natural flow around him be it animal or human.
Giacomo's Secret
Similar features to Primero
McLeach: A character embodying defiance. Imposing and Angular.
Analyze a film that is strongly pose based and
is an animated comedy about bull fighting: BULLY FOR BUGS.
Big, small, tiny:
Big shapes (body) = less motion, less attraction
Small shapes (head, hands) = more motion, more attraction
Tiny shapes (eyes) = high motion, high attraction
Build the 2D sensibility
-Exercise from Eric Goldberg's book.
-Provide a 2D clip of similar character and copy it with rig i.e Facilier for El Primero
-FLATTEN! Mentally reduce gradients and turning edges. See as drawing first then sculpted in z-space.
Ring style DNA?:
EMPEROR'S NEW GROOVE
Gobelins student films--pose and shape based
later Chuck Jones
elements of HOME ON THE RANGE
GIACOMO'S SECRET
KLAUS- Sergio Pablos
Guess what? We're joining a club! The Barnyard Movie Club!
Let's see where other filmmakers have staked out territory in this place.
Films set in the barnyard:
Animal Farm
Babe
Charlotte's Web
Gobelins films--https://www.youtube.com/user/gobelins
KLAUS--https://vimeo.com/126287950
http://2dtraditionalanimation.tumblr.com/?og=1
http://livlily.blogspot.com/2013/07/pencil-tests-films-alphabetical.html
Bulls:
Pasha
Beast
Thin Man:
Presto
Facilier
McLeach
Lupe:
The Hercules/ Philoctete relationship
Jose Carioca?
Expressing Inner life before speaking
A word about character intentionality and inner life. To have an audience understand and empathize with a character's inner life, that character cant just start and stop a dialogue shot. Just as the overall pose should communicate attitude, the precursors to dialogue and the residual energy at the end of dialogue are required to make the audience feel what the character is feeling. Eyes, mouths, and hands are all portals to the mind--the parts of the body most directly wired to the brain with the densest connections. These features are always alive and reflective of inner life, unless repressed with effort. So look for ways to show how a character is dealing with its inner life before they tell you something in the dialogue. The mouth might compress or relax a second before they speak. They might slowly move their lips into a initial phoneme before any sound is uttered. Feel how effortless it is to make tiny shape changes with your mouth--smacks, clicks, swallowing, slackening, teeth grinding, small soundless phonemes.
Unless there are high stakes requiring someone hide their feelings, always consider how to handle the residual energy after a character expresses verbal dialogue. Characters may speak with spontaneity or deliberate intention, quietly or with force, but anytime a character speaks the residual trailing energy from that release should be considered, particularly if there is a strong emotion driving it. The stronger the force, the more resolution time and effect on the body. We first think of the eyes, but also think about what to do with the mouth and hands.
How to approach large forms in animation!
Large forms should have weight. Large forms are grounding.
So large forms should be controlled and move within tighter range. The smaller
head will be more active and draw the eye.
Hold back on bull body motion until they are required to throw their weight around--then
it will have more impact! See their strength in impacts with ground and objects.
An immovable anvil becomes an anvil in motion! Watch out!
Think: Steam Locomotive, Wrecking Ball, anvil launched from cannon.
Be conscious of the screen space eye bounding box!
The eyes should be confined to exist in a small bounding box often!
Large Quads: the face should move the most. BOdy is solid and heavy
Hedgehogs and Lupe: body should be more active
We have elements of stylized design in the characters. This allows us to push stylization of
motion. Snappier snappys and Holdier holds. To sell weight or lack of, we can caricature physics
more. We are on the continuum toward Peanuts and UPA style. But we still have to honor emotion through relatable and visceral motion. Pose and movement caricature the Idea we need to communicate. Non-verbal comedic and sympathetic language of motion.
Eliminate the 50% inbetween when you can!
Outside (and some inside) the box ideas
Working in Poses!
Put on your 2D animation goggles
Big, Small, Tiny
Golden Ratio--simplify to Rule of Thirds
The story telling poses are half the work--Drawovers!
Sang June, BJ, JJ, Graham
Adding straights creates tension and energy.
-Personality Traits vs Species Traits
What does a bull brain and body do? What does vain or neurotic or excitable personality do?
-Caricature vs. Naturalism
-The greater the Graphic Abstraction of design, the more stylized the possible motion.
-At the same time, our challenge is to make things feel emotionally and viscerally real.
So we need to stylize motion to make the bulls feel HEAVY. Heavy things have inertia. If they are
still they don't want to move, and if they are moving they want to keep moving. We need to caricature this phenomenon thru timing, so heavy things aren't generally snappy and we need to find a balance.
-In our situation, we can only lay down some guideposts, but we will
refine the path in the first few sequences.
-It will be easy to overpose El Primero to the point he starts to
lose importance or gravitas. He is not a clown. Even though he is thin, he should generally move with reserve, dignity, and weight until the passion is expressed in bold quick poses and flourishes.
Representing defiance, Primero should always be angular and linear. A wall or barrier. His poses and action should serve to block the natural flow around him be it animal or human.
Giacomo's Secret
Similar features to Primero
McLeach: A character embodying defiance. Imposing and Angular.
Analyze a film that is strongly pose based and
is an animated comedy about bull fighting: BULLY FOR BUGS.
Big, small, tiny:
Big shapes (body) = less motion, less attraction
Small shapes (head, hands) = more motion, more attraction
Tiny shapes (eyes) = high motion, high attraction
Build the 2D sensibility
-Exercise from Eric Goldberg's book.
-Provide a 2D clip of similar character and copy it with rig i.e Facilier for El Primero
-FLATTEN! Mentally reduce gradients and turning edges. See as drawing first then sculpted in z-space.
Ring style DNA?:
EMPEROR'S NEW GROOVE
Gobelins student films--pose and shape based
later Chuck Jones
elements of HOME ON THE RANGE
GIACOMO'S SECRET
KLAUS- Sergio Pablos
Guess what? We're joining a club! The Barnyard Movie Club!
Let's see where other filmmakers have staked out territory in this place.
Films set in the barnyard:
Animal Farm
Babe
Charlotte's Web
Gobelins films--https://www.youtube.com/user/gobelins
KLAUS--https://vimeo.com/126287950
http://2dtraditionalanimation.tumblr.com/?og=1
http://livlily.blogspot.com/2013/07/pencil-tests-films-alphabetical.html
Bulls:
Pasha
Beast
Thin Man:
Presto
Facilier
McLeach
Lupe:
The Hercules/ Philoctete relationship
Jose Carioca?
Expressing Inner life before speaking
A word about character intentionality and inner life. To have an audience understand and empathize with a character's inner life, that character cant just start and stop a dialogue shot. Just as the overall pose should communicate attitude, the precursors to dialogue and the residual energy at the end of dialogue are required to make the audience feel what the character is feeling. Eyes, mouths, and hands are all portals to the mind--the parts of the body most directly wired to the brain with the densest connections. These features are always alive and reflective of inner life, unless repressed with effort. So look for ways to show how a character is dealing with its inner life before they tell you something in the dialogue. The mouth might compress or relax a second before they speak. They might slowly move their lips into a initial phoneme before any sound is uttered. Feel how effortless it is to make tiny shape changes with your mouth--smacks, clicks, swallowing, slackening, teeth grinding, small soundless phonemes.
Unless there are high stakes requiring someone hide their feelings, always consider how to handle the residual energy after a character expresses verbal dialogue. Characters may speak with spontaneity or deliberate intention, quietly or with force, but anytime a character speaks the residual trailing energy from that release should be considered, particularly if there is a strong emotion driving it. The stronger the force, the more resolution time and effect on the body. We first think of the eyes, but also think about what to do with the mouth and hands.
How to approach large forms in animation!
Large forms should have weight. Large forms are grounding.
So large forms should be controlled and move within tighter range. The smaller
head will be more active and draw the eye.
Hold back on bull body motion until they are required to throw their weight around--then
it will have more impact! See their strength in impacts with ground and objects.
An immovable anvil becomes an anvil in motion! Watch out!
Think: Steam Locomotive, Wrecking Ball, anvil launched from cannon.
Be conscious of the screen space eye bounding box!
The eyes should be confined to exist in a small bounding box often!
Large Quads: the face should move the most. BOdy is solid and heavy
Hedgehogs and Lupe: body should be more active
We have elements of stylized design in the characters. This allows us to push stylization of
motion. Snappier snappys and Holdier holds. To sell weight or lack of, we can caricature physics
more. We are on the continuum toward Peanuts and UPA style. But we still have to honor emotion through relatable and visceral motion. Pose and movement caricature the Idea we need to communicate. Non-verbal comedic and sympathetic language of motion.
Eliminate the 50% inbetween when you can!
Script beats
095_JOURNEY
Ferdinand thinks he is getting a ride back to his farm. As the truck continues past the farm into strange and unfamiliar territory, and as day becomes night, Ferdinand realizes he is not going home.
100_ARRIVAL
The truck arrives at the Hacienda. Ferd tries to free his horn from the wooden slats of the truck's walls. His struggles make him appear a ferocious bull to the ranch hands. The boss, Moreno, orders Lupe to go in and calm him. We are introduced to her comedic bossy personality.
Ferd frees himself and almost crushes Lupe under him. Lupe marvels at Ferd's size and seeing the potential fighter in him, decides on the spot to be his coach.
155_DAYONE
Lupe shows Ferd around the barnyard (Casa de Campeones), where he is introduced to the other bulls training for their future fights. Each one has a distinct personality and physical traits. Bones is leggy, scraggy and lacks hitting power. OREO has genetically engineered strength but has a strangely robotic manner. Zorro seems a perfect specimen but is crippled by insecurity. Angus is a Scottish bull fueled by anger and blind as a bat. Zurito is the leader--the dominant bull. There is instant rivaly between the new guy Ferd and Zurito with a promise of confrontation to come. Ferd is shown to his stall--now his new home.
150_ENCOUNTER
Ferd attempts to sneak out beyond the barnyard into the beautiful field beyond, but is knocked flat by the electric fence. Three haughty Lipizzaner horses on the other side, HANS, GRETA, and KLAUS, mock him.
140_AMIGOS
Ferd encounters three hedgehogs trying to steal his food. The three, UNA, DOS, and QUATRO strike a pact to help Ferdinand escape after he allows them to take his food.
125_THREAT
El Primero is coming. Lupe spreads the word to the bulls and Ferdinand.
115_VISITOR
A fancy red sports car pulls up in front of the ranch house. The staff assembles to meet El Primero.
Everyone treats him like the world's most famous celebrity, and El Primero certainly acts the part with an air of superiority. We learn he's preparing for the last bullfight of his career, and must find the one bull worthy of this great event.
125_THREAT (cont.)
Hearing of the especially great honor bestowed upon the bull selected for this fight, the bulls begin to jockey competitively in the practice ring. Lupe excitedly tries to motivate Ferd, telling him that with her training he has a good shot at being selected. Ferdinand could care less.
156_STAGEFRIGHT
The bulls continue to jockey for El Primero's attention. Zurito surreptitiously undermines each bull's performance. Lupe desperately tries to coax Ferd into performing, finally chomping on his tail in exasperation. This causes Ferd to bolt into the ring, bucking and thrashing. El Primero is impressed by the massive bull's display.
157_BUTCHER
Back in the stable yard after the competition, Zurito is furious and makes threats at Ferd. Ferd and Lupe have a falling out. Then everyone watches as Zorro, thinking he is the winning bull being brought to the stadium to fight, is instead trucked off to the butcher's building in a remote part of the ranch. This is the first time Ferd sees what happens to bulls who don't make the cut.
175_REALITY
The hedgehogs try to help Ferd escape. They wind up in the main house kitchen, where they have to hide from El Primero hunting around for a midnight snack. After various mishaps, they make it out through a side door.
250_GAMEPLAN
Back at the hedgehog's hangout, UNA and CUATRO try to free DOS from a moustrap that caught him in the farm house. Ferd is despondent about his prospects of getting out alive, never mind his freedom. The hedgehogs are undaunted though, and come up with a new plan to save him. Ferd must get on the Selection Truck. We see the plan unfold in a fantasy sequence.
170_TRAINING
Lupe and Ferd make amends and begin the training. Ferd fails in his first exercise when he tries to avoid hitting a bunny, much to Zurito's pleasure.
180_RIVALRY
Zurito bullies Oreo and Ferd at the water trough. We discover Oreo and the bunny are friends.
169_WHEELOFDEATH
Ferdinand thinks he is getting a ride back to his farm. As the truck continues past the farm into strange and unfamiliar territory, and as day becomes night, Ferdinand realizes he is not going home.
100_ARRIVAL
The truck arrives at the Hacienda. Ferd tries to free his horn from the wooden slats of the truck's walls. His struggles make him appear a ferocious bull to the ranch hands. The boss, Moreno, orders Lupe to go in and calm him. We are introduced to her comedic bossy personality.
Ferd frees himself and almost crushes Lupe under him. Lupe marvels at Ferd's size and seeing the potential fighter in him, decides on the spot to be his coach.
155_DAYONE
Lupe shows Ferd around the barnyard (Casa de Campeones), where he is introduced to the other bulls training for their future fights. Each one has a distinct personality and physical traits. Bones is leggy, scraggy and lacks hitting power. OREO has genetically engineered strength but has a strangely robotic manner. Zorro seems a perfect specimen but is crippled by insecurity. Angus is a Scottish bull fueled by anger and blind as a bat. Zurito is the leader--the dominant bull. There is instant rivaly between the new guy Ferd and Zurito with a promise of confrontation to come. Ferd is shown to his stall--now his new home.
150_ENCOUNTER
Ferd attempts to sneak out beyond the barnyard into the beautiful field beyond, but is knocked flat by the electric fence. Three haughty Lipizzaner horses on the other side, HANS, GRETA, and KLAUS, mock him.
140_AMIGOS
Ferd encounters three hedgehogs trying to steal his food. The three, UNA, DOS, and QUATRO strike a pact to help Ferdinand escape after he allows them to take his food.
125_THREAT
El Primero is coming. Lupe spreads the word to the bulls and Ferdinand.
115_VISITOR
A fancy red sports car pulls up in front of the ranch house. The staff assembles to meet El Primero.
Everyone treats him like the world's most famous celebrity, and El Primero certainly acts the part with an air of superiority. We learn he's preparing for the last bullfight of his career, and must find the one bull worthy of this great event.
125_THREAT (cont.)
Hearing of the especially great honor bestowed upon the bull selected for this fight, the bulls begin to jockey competitively in the practice ring. Lupe excitedly tries to motivate Ferd, telling him that with her training he has a good shot at being selected. Ferdinand could care less.
156_STAGEFRIGHT
The bulls continue to jockey for El Primero's attention. Zurito surreptitiously undermines each bull's performance. Lupe desperately tries to coax Ferd into performing, finally chomping on his tail in exasperation. This causes Ferd to bolt into the ring, bucking and thrashing. El Primero is impressed by the massive bull's display.
157_BUTCHER
Back in the stable yard after the competition, Zurito is furious and makes threats at Ferd. Ferd and Lupe have a falling out. Then everyone watches as Zorro, thinking he is the winning bull being brought to the stadium to fight, is instead trucked off to the butcher's building in a remote part of the ranch. This is the first time Ferd sees what happens to bulls who don't make the cut.
175_REALITY
The hedgehogs try to help Ferd escape. They wind up in the main house kitchen, where they have to hide from El Primero hunting around for a midnight snack. After various mishaps, they make it out through a side door.
250_GAMEPLAN
Back at the hedgehog's hangout, UNA and CUATRO try to free DOS from a moustrap that caught him in the farm house. Ferd is despondent about his prospects of getting out alive, never mind his freedom. The hedgehogs are undaunted though, and come up with a new plan to save him. Ferd must get on the Selection Truck. We see the plan unfold in a fantasy sequence.
170_TRAINING
Lupe and Ferd make amends and begin the training. Ferd fails in his first exercise when he tries to avoid hitting a bunny, much to Zurito's pleasure.
180_RIVALRY
Zurito bullies Oreo and Ferd at the water trough. We discover Oreo and the bunny are friends.
169_WHEELOFDEATH
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