Image Processing Reference
In-Depth Information
The use of reference material in this phase is a must. What does a gila
monster look like? What is the scale relationship between the Empire State
Building and an igloo? What color is Mars? If you have no idea then jump on
the web and get some photographs and images to become informed. You
can then distort this information, but you need to know the truth before
you go off on a tangent. Even if you create something that has never been
seen before, you still may need some reference for texture, details, or color.
Reference material is where it all starts visually. If you do not draw very
well and cannot get someone to help, then you might consider creating a
photographic storyboard with a digital still camera. This approach requires
that you go out and find images you can photograph with your digital
single-lens reflex (dslr) still camera, or images in magazines, on the web, or
from other visual resources. By using some simple cutting and pasting in a
program like Photoshop, you can create your own storyboard that clearly
communicates the narrative or ideas you need to show to tell your story.
This is especially appropriate for the production of a pixilated film. Between
reference material and photographs, you can create a storyboard that
reminds you of how you planned the production, and it can communicate
your intentions to your small crew.
Fig 2.8
images of a
photographic storyboard.
a is a simple cut and paste
photographic storyboard.
B is a finished photographic
storyboard with background.
Drawing is a great skill, one that I would encourage, but if the skill is not
available, then there are other ways to lay out a storyboard and move your
production ahead. Storyboarding for time-lapse and certain pixilated films
may be close to impossible to draw out because it relies so much on the eye
of the cinematographer and director when on location. Simply writing down
shot ideas in sequence and what you want to accomplish with each shot can
be very helpful. You then have to be open to what happens in the field. In
time-lapse animation, it is absolutely critical to observe the event that you
want to photograph. You need to know how long an event takes to unfold,
what the subjects do, how the lighting might change, and how the general
environment, like weather, might change before you shoot the final shot.
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