Image Processing Reference
In-Depth Information
artists' time and seeing how they operate is worth the effort. You will
find that many of these artists are just driven to produce and make these
experimental film shorts. Many times, not much money is involved. That
displays the passion necessary to work in this area. If you are fortunate
enough to get some commissioned work, like a commercial or a short
informational film, consider it an opportunity to experiment and push the
bounds within reason. Your client wants to know what you will produce,
but there should still be a chance to step out a bit and try something fresh
and new.
These techniques open up a wide range of possibilities for established
and potential new filmmakers. As I mentioned in the Introduction, the
moving image is becoming more and more accessible to a larger pool of
producers. Live-action filmmakers want to stylize their films, and this is
one way that is not totally foreign to them, since the use of photography,
lighting, and performance are involved in both approaches. You really
don't need to know how to draw or sculpt well, but you do have to have
good ideas and some skills, and these frame-by-frame techniques are a
great way to add something new and different to live action. This is also
true for photographers who are now using dslr still cameras that have the
capability to shoot high-definition video. These photographers want to
know how to take advantage of these camera assets. I tried to incorporate a
few basic animation techniques in these chapters as well as describe what
frame-by-frame artists are now producing, without getting too technical.
The associated website has many of the technical hints and approaches,
which are always changing with technology, but the fundamentals are
described in these chapters.
If you start to think about the infinite combinations and possibilities in this
area, you can get overwhelmed. Just about anything can be animated to
serve an idea. Some things are easier to animate and control than others, and
keeping this in mind when you choose an object or person helps determine
the result you get. It is important to apply tried and true animation techniques
to your movement to elicit a dynamic result. Pixilation that has some snap and
punch is more interesting to watch than evenly paced movement. Time-lapse
photography that is dynamic in composition and has dynamic transformation
can be fascinating. You must understand the subject before you commit it to
film. This way, you get the best angle, understand the best part of an event to
record, and can be prepared for the change that occurs in front of the camera.
Downshooting or using a multiplane animation stand can be a rich art form
when used with cutouts, sand, three-dimensional objects, or an infinite range
of material. The ability to shoot in a “down and dirty” approach, which can be
fast and fresh looking, is really appealing to some filmmakers. This art form
also has the ability to be subtle and refined with its multilayered look. It has
the advantage of the photographic approach and look, and objects generally
need not fight gravity, the eternal bane of stop-motion animators. I hope you
consider playing with these techniques. They can be fairly fast to produce
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