Image Processing Reference
In-Depth Information
in the early twentieth century. Cameras used to be hand cranked or driven,
so the number of frames that were exposed per second in the camera was
fewer than the number of frames projected per second on a screen later. More
action was packed into less time, which gave the effect of everything being
sped up.
There are many ways to overcome the inherent features of a particular
technique, and these adaptations to the technique are one area we
explore in the chapters about each technique. It is important to think
about what a technique might bring to a film and if it is complementary
to the concept of the film. If it is not complementary, then how can you
adjust the technique to complement your idea? Once you have your idea
and the proper technique, and in our case, we are concentrating on these
alternative stop-motion techniques, you need to proceed deeper into
preproduction.
Preproduction
Your concept and script need to be translated into visual language for you
to know how to prepare for a shoot. This is the storyboard. Storyboarding
can be a career unto itself, and some highly talented people work in this
arena. The critical job of the storyboard is to force you to think through your
idea carefully, map out a plan of production, and help communicate with
the people involved in the production. The storyboard does not have to be
beautiful. It needs to be practical and communicate your idea visually. If you
are creating a film for a potential client, especially one that may not have
your visual imagination, then a well-rendered and clear storyboard becomes
essential. If you are making a film for yourself or a few friends, who may help
you in production, then a “thumbnail” or simple stick-figure rendering of your
idea suffices.
Fig 2.7
images of “thumbnail” boards. a is a thumbnail and B is a finished storyboard.
Courtesy of Janine Carbone, © 2009.
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