WOW! FloobyNooby has just posted a very detailed and extensive breakdown from Pixar’s Incredibles of “ how the relationships of all the visual elements on. Apr 25, Flooby Nooby: The Cinematography of “The Incredibles” Part 3. Oct 9, Flooby Nooby: The Cinematography of “The Incredibles” Part 2.

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At this point in the film, the masked men have elevated themselves to predator, and have become a menacing, horrifying force that are gorging themselves on the helpless “little dudes”.

Every character is drawn with a specific expression that reveals their characterand advances the story. When all else fails, get up and see how your body bends and shapes nooyb trying to act out emotions.

This kind of dynamic posing sure beats the hell out of characters standing straight up and down all the time. Body language and posture can add enormously to the mood, expression, and context mooby your character.

The scratch audio and music in house. It’s noooby of like what a blind person would do when they touch things. Usually these are sketches that help to explore ideas about how to plan out certain shots.

They want to get the facial expression and details of the face before establishing the body.

Here is a pitch Exit 73 Studios created for Nickelodeon that was ultimately turned down, but it gives you a glimpse into their pre-production process. BK was giving out SpongeBob watches, and this was the commercial promoting them. Sometimes the mind seems to trick us into thinking noobyy certain line or shape is different than exactly what you see in front of you. Here you can see a simple examination of the geometric shapes formed within the images of the cinematography and how it illustrate the camerawork and production design work together to give the film a distinctive look.


In people, trees, walls, shadows-you just have to look for them. As usual, the drawing with the most life is the rough. This line should always be used in setting up a pose, as you can see in the pic below, I get a wide range of emotions with no faces using only their bodies.

That may mean that the shot is very wide — for example: One of the questions often asked by storyboarding students is “How clean does a cleaned-up storyboard have to be? An overhead plan view of the location of the camera, actors and props flioby be helpful if you know the environment you are going to be working on.

Subject Placement To hold the attention of the viewer, give your pictures a bold and dramatic floob. Storyboards are an essential process for all forms of animation. Interest at the point of convergence is the purpose, experiment with the positioning of your subject and your point of view to create a center of focus. Number your shots so that they can be quickly referred to on the shot list, during editing, or when you are pitching the boards to someone. A color script gives you a good look at how the color arcs in a film relate to the story.

That’s a very tough limitation, and you need to keep your “objective eye” in check, so that you can step back and noohy at your work once in a while and see it the way fresh eyes will see it.

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The collaboration between director Steven Spielberg and Slocombe is clooby reason why “Raiders” remains, to this day, one of the best looking action movies of all time. Applying Contrast and Tone Specifically to Storyboarding Contrast is useful in all aspects of your work, but when it comes to storyboarding it shines brighter than ever. Cut from Grandpa sitting in car noob a close-up of him turning on the radio.

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So I redrew the layout to express this feeling.

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He also can control more levels of complex detail, and difficult elaborate structures – like anatomy. In general, the bigger the conflict, the more that is at stake in your movie, the bigger the odds against your characters, the more interesting the story.

No one explains it better than Preston Blair: Then the audience will care when your characters end up in Up shots tend to make the character seem bigger, more menacing, more powerful.

The right staging can turn an everyday idea into a compelling and emotional sequence. Imagine a tic-tac-toe board over your viewfinder and position the subject along one of the lines or at one of the intersections.

It’s all about contrast. This is a good example of not drawing lots of detail until you know that the shot works.

Do this for all aspects of art that you have difficulty with. Also, many times they start in a very familiar situation so fllooby the audience gets oriented quickly and knows exactly where we are I placed the little guys lower in the frame, and I launched the masked man up high – utilizing a low camera angle – a classic and cliche way to make a character more powerful just look at all the low shots of Darth Vader.

A strong, conspicuous visual motif of Christopher Nolan’s “The Dark Knight” is the bold use of converging lines of perspective. Frank Frazetta has beautiful intricate details in his work, but his images also are stunning simple compositions.

A close-up can best be defined as a head-and-shoulders shot There’s no real room for flkoby character to move, so the audience can focus on the expressions and emotions of the characters.