Monday, June 7, 2010
Sunday, June 6, 2010
Saturday, June 5, 2010
Friday, June 4, 2010
Storyboarding - Escalation and Contrast in Posing and Acting
In the previous video, I was talking about posing out a character's actions, and building up the posing to escalate the comedy.
During the cutaway shot to Mary Frances, there is another good example of trying to find the right amount of poses for an action. Mary Frances is going through a short process of thinking and then reacting. I wanted to show the contrast of all of these emotions to give it the greatest storytelling and comedy impact.
Contrast refers to emphasizing the great differences in tone or mood or action. If all of the action takes place at the same level of intensity, it gets boring and numbing to the audience.
Just like the way a good pop song will speed up and slow down, get softer and then louder, the way a scene plays out (and the way a whole story plays out) also needs contrast to keep it interesting.
Notice the different emotions in these panels: from dumbfounded to scheming to thinking to excitement. If these emotional moments were not posed out, it wouldn't be as fun to watch and we wouldn't learn nearly as much about her character.
This is the second of three videos that look at how much to pose out an action. Since there are always a number of different things going on in any drawing, there are also many other topics covered: staging to leave enough room for the biggest action, use of the cutaway shot, prop design, using reference, truck-ins, and the match-cut.
During the cutaway shot to Mary Frances, there is another good example of trying to find the right amount of poses for an action. Mary Frances is going through a short process of thinking and then reacting. I wanted to show the contrast of all of these emotions to give it the greatest storytelling and comedy impact.
Contrast refers to emphasizing the great differences in tone or mood or action. If all of the action takes place at the same level of intensity, it gets boring and numbing to the audience.
Just like the way a good pop song will speed up and slow down, get softer and then louder, the way a scene plays out (and the way a whole story plays out) also needs contrast to keep it interesting.
Notice the different emotions in these panels: from dumbfounded to scheming to thinking to excitement. If these emotional moments were not posed out, it wouldn't be as fun to watch and we wouldn't learn nearly as much about her character.
This is the second of three videos that look at how much to pose out an action. Since there are always a number of different things going on in any drawing, there are also many other topics covered: staging to leave enough room for the biggest action, use of the cutaway shot, prop design, using reference, truck-ins, and the match-cut.
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If you missed any of the previous posts, here are the links:Animation JOBS: Nick Seeks Prop Designer and Storyboard Artists on 2 New Shows
Nickelodeon Animation Studio
is looking for artists for two new shows:
"TUFF Puppy" and "Kung Fu Panda:
Legends of Awesomeness"
Here is the job listing, cut-and-pasted directly from the TAG Job Announcement board
----------------------------------------------------------------is looking for artists for two new shows:
"TUFF Puppy" and "Kung Fu Panda:
Legends of Awesomeness"
Here is the job listing, cut-and-pasted directly from the TAG Job Announcement board
Kung Fu Panda - Legends of Awesomeness
Storyboard Revisionist:
Revises, supplements and cleans up storyboards as directed.
ESSENTIAL DUTIES AND RESPONSIBILITIES:
Duties and responsibilities may include, but are not limited to:
- Meet with creative supervisors; discuss and implement necessary storyboard revisions
- Follow instructions as per the notes and discussions
- Address any problems with creative supervisors; ask necessary questions
- Communicate progress of work to creative supervisors and to appropriate production staff
- Ensure quality and style of show is consistently achieved in storyboard work
- Meet all deadlines as determined by LP/PM
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Tuff Puppy
Prop Designer:
Summary:
Generates prop designs, special effects, lettering, schematics and any other prop-related art that the production may require, ensuring style and quality of show is met.
Responsibilities may include but are not limited to:Additional job requirements:
- Review script for props needed at handout of show.
- Complete all rough, revised and final designs necessary within assigned deadlines.
- Resolve design problems with creative supervisors.
- Ensure all deadlines are met.
- Communicate progress of work to appropriate production staff.
- Ensure all artwork is properly backed up and stored appropriately.
- Ensure all shipping materials are prepared and ready on time.
- Be available for questions until your department's shipment is complete.
Qualifications:
- Assist with special projects
- If applicable, make special shadow and color indications
Education/Experience:
- Must be able to use a Cintiq
- Must be able to create props with full turns
- Must demonstrate proficiency in style of show
- Strong prop design and construction/mechanical skills
- Knowledge of or willingness to learn applicable design software and hardware.
- Strong time-management skills
- Work well under pressure
- Ability to multitask a plus
BA in Fine Arts or equivalent work experience highly desired.
Tuff Puppy
Storyboard Artist:
Description:Qualifications: To perform this job successfully, an individual must be able to complete each essential duty satisfactorily. The requirements listed are representative of the knowledge, skill and/or ability required. Reasonable accommodations may be made to enable individuals with disabilities to perform these essential functions.
- Meet with creative supervisors to discuss objectives of storyboard; what is desired or to be achieved
- Create storyboards by implementing storytelling objectives. Follow instructions of creative supervisors
- Address any problems with creative supervisors; ask necessary questions
- Communicate progress of work to creative supervisors and to appropriate production staff
- Ensure quality and style of show is consistently achieved in storyboard work
- Follow proper document management requirements (i.e., file naming and storage) according to the production's guidelines
- Meet all deadlines as determined by Line Producer or Production Manager
- Attend and contribute to relevant meetings and pitches as needed
- Maybe required to pitch Storyboards
- Ensure all storyboard notes are added
- Assist with special projects
As usual, that’s all the information I have. Good luck!EDUCATION and/or EXPERIENCE:
- Must be able to work digitally
- Must have full knowledge/skills of the 2 D animation process
- Must have strong life drawing skills
- Must demonstrate proficiency in style of show
- Strong staging and composition skills
- Strong drawing and mechanical skills
- Strong draftsmanship
- Strong time-management skills
- Ability to multitask a plus
Minimum of 3- 5 years storyboard experience and/or training on a similar show; or equivalent combination of education and experience. Please Note: These are artistic positions and a test will be required.
HOW TO APPLY:
To apply for these positions, you must submit your resume online at www.nickanimationcareers.com. Please follow up by submitting a flat book portfolio (do not include any original artwork) and a digital DVD displaying your art directly to the animation studio. Before we can review your portfolio, you must fill-out a portfolio release form.
To download the form, please go to: http://nas.nick.com/SubmissionReleaseForm.pdf.
Mail in, or drop off, the completed form along with your portfolio and DVD to:
Nickelodeon Animation Studios
Attn. Portfolio Submissions
231 West Olive Avenue
Burbank, CA 91502
Please include a cover letter and resume stating the position or positions to which you are applying.
Please Note: We will call you when your work has been reviewed and is ready for pick-up. Due to the high volume of submissions, please do not call about status updates.
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