cinematography for 3d animators -...

TUTORIALS | Cinematography tips

066 | 3D WORLD3D WORLD May 2006

The quality of your cinematography can make or break an animation. Brush upyour skills with this set of simple tips for framing, staging and editing shots

Cinematographyfor 3D animators

TIPS & TRICKSTIPS & TRICKS

Our experts this issue…

Corey Rosen Corey Rosen is an actor, director, writer and visual effects artist living in San Francisco. After 11 years with ILM, he moved to The Orphanage, where he’s overseeing two international creature-intensive projects www.theorphanage.com ● The problem every new animator

faces: just how do you frame your shots? This collection of tips from leading directors should help. Image from Annie & Boo, directed by Johannes Weiland.

inematography isn’t simply the art of placing and moving the camera – it involves framing and editing shots to tell a story visually, express a point of view, create a rhythm, and add

tension and atmosphere to a scene. An animation can be made or broken by the quality of its cinematography, while framing, editing and camera moves are all great tools to help accentuate the action or amplify the storyline.

Even technically good and experienced animators are

often let down by their cinematography. The difference

between a professionally composed and edited fi lm and an

unwatchable mess comes down to having paid attention to

a few simple rules. Here are three rules that aspiring virtual

cinematographers most commonly break. Rule 1: when going

from a wide to a close shot, keep your character on the same

side of the screen – if he was on the left in the wide shot,

don’t frame him on the right in the close shot. Rule 2: when

intercutting between two people, their glances must always

face in the opposite direction if the viewers are to feel that

they’re looking at one other. Don’t make them look towards the

same side of the screen or they’ll both appear to be looking in

the same direction. Rule 3: when a character moves between

shots, he should move in the same direction on screen in each

one. If he doesn’t, it will look like he’s changed direction.

To build on these fundamentals, we’ve asked four

experienced professionals to share their tricks of the trade

and tips for avoiding common mistakes. You’ll learn how

cinematography can support the action of a fi lm and enhance

emotions, and how you can create rhythm and visual fl ow.

You’ll also discover the magic behind the choice of focal lengths.

Read on to discover 15 simple things that you can do right now

to improve the structure of your next animation.

C

Webster Colcord Webster Colcord has been a professional animator since 1987 and has worked with Disney, Fox, Warner Bros, PDI/DreamWorks and Electronic Arts. He’s currently Animation Supervisor at The Orphanagewww.theorphanage.com

Johannes Weiland Johannes Weiland is a German freelance director and animator who also teaches animation. His 3D animated shorts, Hessi James and Annie & Boo, have won many awards. He’s represented by Studio Soi www.studiosoi.com

Benoit Guerville Benoit Guerville has been using a camera since he was 12. He’s currently developing CGI-heavy projects in the south of France, and teaches Photoshop and Art Direction in a visual effects [email protected]

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IN FOCUS | The meaning of focal lengths

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Cinematography tips | TUTORIALS

CREATE A POINT OF FOCUSThe rules that apply to the visual composition of still images also

apply to animated sequences. As a rule, your image should have a

point of focus: something to which you want to draw attention.

This will usually be located in the lighter-coloured part of the frame,

as this will draw the viewers’ eyes towards it. Ask yourself how the

other elements inside your shot help to guide the viewers towards

your focal element.

DECIDE WHO YOU’RE LOOKING ATCinematography also has its own specifi c set of rules, so make sure

that you understand and respect them before you break them!

The 180-degree rule, also known as the Action Line or the Line of

Interest, is probably the most important. It states that when two

characters are looking at each other, the camera should stay on one

side of the action and not go beyond a 180-degree arc. This ensures

that the opposing glances of the two characters remain consistent

throughout the scene, with one always looking towards the left side

of the frame and the other to the right. You should also ensure that

each one looks off the screen towards a point at which you could

reasonably expect to fi nd the eyes of a character of the correct

height. Note that the more a character looks toward the camera, the

more the viewers are involved. The more he looks away from the

camera, the more the viewers become observers of the character’s

thoughts, emotions and actions. Keep this in mind with your story.

CHOOSE THE CORRECT SHOT SIZEYou need to be aware of the different sizes of shots and what

each one is intended for. Generally, a wide shot is used to open a

sequence, introducing a set or creating an atmosphere. The closer

you get to the action, the closer the viewers’ relationship to it will

become. Therefore, a close-up of an object focuses the viewers’

attention on it and conveys its importance in the storytelling.

A full shot of a character has essentially exactly the same

function as the wide shot for a set – it provides an overall context

for that character. It also serves to present them in relation to

their environment. Generally, you would begin moving closer to the

character once he has been introduced, unless you want to reveal

his body language fi rst. Similarly, a close-up is often used to enable

the viewers to perceive what’s going on inside a character’s head

and to feel his emotions.

AVOID UNUSUAL LENS TYPESIn the real world, cinematographers have access to only a small

range of lenses with different focal lengths. In 3D, inexperienced

cinematographers tend to use ultra-wide angles (that is, ultra-short

focal lengths). Avoid these: they look unrealistic and instantly give

away the computer-generated origins of your work, making it look

more like a bad videogame than a movie. If you’re a purist, you

could eventually limit yourself to the fi xed focal lengths that are

suggested in your 3D software, because these represent the lenses

used in real-world cameras.

PICK THE CORRECT FOCAL LENGTHChoosing a specifi c focal length can be diffi cult. To learn to

choose between long, short and neutral focal lengths, you need to

understand how they optically distort the image.

The 50mm lens is the closest to standard human perception.

Therefore, by using this focal length, you’ll show a 3D environment

in the way it would be perceived by a human being walking around

inside it. In general, focal lengths between 35 and 55 millimetres

create a fairly neutral perception – they’re a kind of non-statement.

This can be a good way to focus the viewers’ attention on the

characters’ performances without adding any visual gimmicks.

Shorter focal lengths, such as 28mm, cover a much wider

angle than the human eye. They make everything appear larger,

and strongly accentuate perspective lines. These are useful for

enhancing large vistas, landscapes and so on, and they’re often

used in anime to inject a dynamic feel to a shot. Used in close-ups,

they magnify the fl aws of a character’s face and are thus often

used for comic effect.

LONG = INTIMATEA long focal length helps the viewers to connect with this character’s inner thoughts, as the blurring effect of the shallow depth of fi eld helps to visually isolate her from the outside world

● It may be conventional to open on a wide shot, but the reverse can pay dividends. In Johannes Weiland’s Hessi James, close-ups suggest the heat and decay of a desert gas station, before a wide shot reveals the set

● If you’re unsure about continuity between your shots, don’t hesitate to use visual cues. Here, the second character’s shoulder in the foreground helps create a spatial relationship between the two speakers

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SHORT = ISOLATEDIn contrast, a short focal length serves to isolate the viewers. In this wide-angle shot, the character appears so small, and the set so devoid of people, that the contrast greatly enhances the atmosphere of loneliness

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IN FOCUS | Cutting between characters

TUTORIALS | Cinematography tips

In contrast, longer focal lengths tend to fl atten the image, making

objects appear much closer to one another than they really

are. Obliterating space in this way can help to create a symbolic

relationship between characters. However, long focal lengths also

produce a short depth of fi eld – everything in front of or beyond

the focal point is out of focus. This is why long focal lengths

are generally used to isolate a subject from its environment. For

example, you could single out a person in a crowd or focus on a

character’s face while everything else looks like an abstract blur.

This helps to draw the viewers into your character’s world.

KNOW WHEN TO MIX FOCAL LENGTHSThere are two schools of thought regarding the use of multiple focal

lengths in the same sequence: some say you should and some say

you shouldn’t! Choosing a fi xed focal length for a whole sequence

is one way to create very discreet cinematography, with the focus

more on the characters than on the camera moves. This can be good

practice when you’re starting out, since it forces you to concentrate

on framing shots rather than planning fl ashy camera moves.

On the other hand, modern cinematography tends to mix and

match focal lengths. You can see this in Hong Kong movies and

anime, where a director will go from a very long focal length in a

close-up on a character’s eyes (to show his concentration) before

moving to a very wide angle (when he jumps in the air to attack),

then back to a more neutral focal length with a camera circling

around him (as he hits his opponent with a slow-motion kick).

This is highly effective and stylish if done correctly. However,

more often than not, young animators overdo it. The key here is

dynamics and rhythm. Asian cinematographers are good at providing

breathing space before the action starts, speeding things up as it

unfolds. This can be seen in classic shots where the lead character

lands on his feet and his opponent drops to the fl oor. The action

often seems to freeze in the last few seconds for which the

opponent is still standing … until he suddenly collapses.

STICK TO REALISTIC CAMERA MOVESIf you want your fi lm to look realistic, stick to realistic camera moves.

In the real world, it’s a tricky job to move a camera smoothly, and

there are members of the fi lm crew (the grips) whose main role is to

set up the complicated machinery that enables this to happen. As a

result. most of the time, real-world camera moves are pretty simple

affairs. However, this can be a blessing in disguise, since you should

never move your camera without good reason.

This good reason can be simple, like the need to follow a walking

character. The storytelling may also call for it: for example, in order to

close in on a character’s face to show what she’s feeling, or to move

away from her to reveal her loneliness. But if you do need to move

the camera, avoid crazy fl y-throughs. Most of the time, they’ll simply

be a tribute to your lack of cinematography skills. If you’re unsure

about movement, you’d be better advised to keep the camera still.

TRY ADDING CAMERA SHAKEIn the 3D world, everything looks too perfect, and this is also true

of camera moves. In real-life fi lmmaking, it’s not unusual to use a

handheld camera, which will bring a slightly shaky motion to your

shot. You can strive to copy this particular kind of shake in order to

give your scene a more natural feel. It’s also a good way to make the

viewers feel as if they are inside the scene, reacting to the action

or the tension. You can create this effect by adding noise to your

camera curves but, once again, be subtle and carefully observe how

live-action cinematographers use handheld movements. Don’t be

tempted to overdo things.

MAKE USE OF CAMERA ANGLESCameras are very powerful tools for expressing a point of view. A

camera placed at eye level gives a natural point of view that mimics

what you experience in your everyday life. All other angles place the

viewers in a special position. A low angle makes characters and sets

look larger than life, while a high angle helps the viewers feel like

they’re dominating a scene or spying on the action.

FIND A VISUAL CONCEPT One extension of this principle is to use a point of view to create

a visual concept for a shot. Keeping the camera at eye level and

068 | 3D WORLD3D WORLD May 2006

SHOT ONEThese paired shots from Annie & Boo show how each interacting character should remain on the same side of the screen, no matter where the camera is

SHOT TWOAnnie stays on the right of shot, even when the camera reverses direction. Similarly, the directions in which the two characters are looking always remain opposed

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● Framing a character in a wide shot allows you to express more body language, and is the ideal choice for showcasing physical comedy

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● A close-up of a character’s face places strong emphasis on emotions. You can accentuate this effect with a travelling shot (pushing inwards). This still is from Olis Chance, directed by Johannes Weiland and Saschka Unseld

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● Another still from Olis Chance. By establishing a scale relationship between the characters and their environment, as demonstrated in this shot, a director can say a lot about their inner strength or fragility

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FURTHER READING | Good books on cinematography

IN FOCUS | Understanding camera angles

Cinematography tips | TUTORIALS

following the action will make the viewers feel as though they are

really standing inside the scene, making them feel closer to the

characters. Alternatively, if you go for a frontal set-up in which the

picture has no depth, this will cause the viewers to feel unwelcome

in the scene, making them feel like outside observers. Another

option can be to show the viewers things that the character never

manages to see during the scene, or vice versa.

OPEN ON AN ESTABLISHING SHOTThe classic way to begin a sequence is by using a wide opening

shot. This lets the viewers understand where the action is taking

place and who the characters are. However, there are circumstances

in which you may want to ignore this convention and begin on a

close up. For example, if you want to mislead the viewers, you could

start close in a detail which then takes on a different meaning when

the camera pulls back. You may also want to create suspense by

showing the viewers apparently non-related elements and holding

back information about what happens next.

CLOSE ON A PARTING SHOTParticular care must be given to the closing shot because it contains

the information the viewers will be left with. Every sequence should

end with a strong emotion or a highly symbolic image that will keep

them wanting to know more. For example, you may want to close

on a wide shot to make the viewers feel as if they are walking away,

letting the characters deal with their own emotions. Alternatively,

you could focus on a character’s face to get your viewers involved

in his emotions. Or you may wish to end with a visual clue for what’s

coming up next, such as a close-up of the ticking clock sitting on top

of the box of explosives that the characters missed throughout the

entire scene ...

EDIT FOR RHYTHMEditing is a way to establish the visual rhythm between shots.

This rhythm should refl ect the performance and emotions of your

characters. It’s especially important in comedy or action sequences,

where timing is crucial. The animation should be your fi rst guide as

to how to edit your sequences. Each change of shot should refl ect a

change of thought, emotion or action in the character. If there’s no

change, there’s no need to change your framing.

Editing should also provide dynamics, which usually means an

opposition between tension and release. This is the reason why

Asian cinema makes such use of the contrast between slow and

normal motion. Generally, the slow motion creates a tension that is

released when the action goes back to a normal frame rate.

KEEP SEQUENCES CONSISTENTTo get a sequence of shots that edit well together, take a few basic

precautions. Follow the rules regarding opposing glances, make sure

the viewers have a good sense of the space in which the action is

happening, keep the lighting consistent, and don’t forget that your

characters also need to be consistent in their motivation from one

shot to the next. And that’s it. Now that you have mastered the

rules governing framing shots, choosing viewpoints and editing

action, we look forward to seeing the results in your own work! ●

Title: Setting Up Your ShotsAuthor: Jeremy VineyardISBN: 0941188736• An excellent guide to the

subject, including many examples from major movies to give you new ideas and to help you understand shot selection

Title: Film Directing: Shot By ShotAuthor: Steven D KatzISBN: 0941188108• An in-depth exploration of

the many camera-framing options that help to convey mood and emotions

Title: Film Directing: Cinematic Motion (2nd ed.)Author: Steven D KatzISBN: 0941188906• Following Shot By Shot, this

book builds on its predecessor by explaining the art of moving the camera around the stage

Title: Cinematography: Theory and Practice Author: Blain BrownISBN: 0240805003• Know what the rules are and

when to break them with this concise guide to theory behind the practice of making movies

Title: Grammar of the Film LanguageAuthor: Daniel ArijonISBN: 187950507X• An in-depth look at the fi lm

language, as well as staging and framing strategies, with plenty of case studies and explanations

Title: The Visual Story: Seeing the Structure of Film, TV and New MediaAuthor: Bruce BlockISBN: 0240804678• Goes beyond the concept of

framing, encompassing all aspects of visual storytelling

HIGH ANGLEA high-angle shot makes the characters appear in an inferior or endangered position relative to their surroundings. These two stills are taken from The Adventures of Sharkboy and Lavagirl in 3-D, directed by Robert Rodriguez

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LOW ANGLEIn contrast, a camera low on the ground with a short focal length places the viewers at the bottom of the image and accentuates the size of the characters: in this case, enhancing the sense of danger from the oncoming robots

MID ANGLEDon’t forget to stage things in depth, too, creating a foreground, a middleground and a background. For this scene from Hessi James, directed by Johannes Weiland, the position of each character helps to add depth to the shot

May 2006 3D WORLD3D WORLD | 069


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