Chapter 8: Technique
- “First thing to consider when choosing an animation technique is how it will be viewed” (114, Blazer).
- Nowadays many content is being viewed on computer screens, phones, and tablets. That means that big-screen masterpieces can also be enjoyed on a smaller screen, so technique must be chosen that is legible in that format.
- With that being said, formats can also be very big. Film festivals and advertisers are being shown on screens the size of billboards and they are found everywhere.
- To figure out which technique to use it’s best to suit it to the format you believe it will be most viewed by.
- If you produce YouTube content or make movies for YouTube Red, you’ll probably want to use Techniques that fit a computer screen or smartphone.
Translate Your Story
- “The most important consideration when choosing an animation technique for your film is all about the story” (116, Blazer).
- You want to use a technique that best suits what you want to convey to the audience.
- For comedies, stop motion or After Effects works well for comedy
Animation/Motion Graphic Techniques and Styles
- “Hand-drawn animation can be executed with a variety of materials (such as pencil, paint, ink, and charcoal)” (117, Blazer).
- There are many techniques as well, such as rotoscoping, Disney Cel animation, or a hand-drawn approach.
- Stop-motion animation can be shot in both 2D and 3D. The technique is similar but the way they’re shot is different.
- Both are shot by a camera, shooting frame-by-frame.
- “2D stop-motion is shot with a camera held over a flat surface” (117, Blazer).
- “3D stop-motion utilizes a tripod to shoot incrementally moving objects on a ‘set’” (119, Blazer).
- “2D CGI is animation that is created in a flat or two-dimensional software environment” (119, Blazer).
- “This technique is clean, is highly scalable, and reads well for type, which is why most broadcast graphics are done with 2D GCI animation” (119, Blazer).
- “3D CGI is animation that is made in a three-dimensional software environment” (119, Blazer).
- “The elements are modeled, rigged, textured, puppeted, and animated in a virtual space” (119, Blazer).
- Hybrid methods: If you’re unable to find a method that works for you, you’re going to have to get a little DIY. “Still images, live-action footage, and hiring help are all good moves” (123, Blazer).
Workaround 1: Import still images
- One of the most common workaround animations you can use is putting still images into your work.
- If you use editing tools, like masking and camera panning, you can make it seem as if the still image is moving like it is animated.
Workaround 2: Shoot live-action footage
- Once you’ve capture live-action footage, like a match (for fire), or moving clouds, import them into your chosen program and composite it into your project.
- A lot of old animation was done this way, using rotoscoping. Disney animators would use real-life footage and draw over it.
Workaround 3: Staff up
- You’re producing your own film, you can’t do everything on your own.
- If you don’t have the money to hire people, use favors, or barter with people.
Case Study: Live Action and Hand Drawn
- Using live action and hand-drawn animation is a great way to separate certain aspects of your film.
- For example, Sensory Overlord directed by Miguel Jiron was an animated documentary about autism. It follows a boy who struggles with autism. The documentary starts out as live action but switches to hand-drawn when the audience is experiencing what the boy is experiencing.