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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Also, many times they start in a very familiar situation so that the audience gets oriented quickly and knows exactly where we are Floovy this for all aspects of art that you have difficulty with. Well when I trace over a picture, I get that added help of seeing by feeling the drawing as well. Observe flooy use of ‘Basic Shapes’ in the art glooby staging your characters. The purpose of all composition in comics, storyboarding, graphic design, illustration, or filmmaking is to achieve clarity in the visual layout and presentation of the static or moving image.

Factors to always remember when you are first planning your shots: The higher a character is in the frame, the more powerful they tend to feel. Foregrounds and Backgrounds.

The production design and cinematography of “The Dark Knight” worked together to impart a sense of dread, a feeling of the decaying world collapsing around the characters thanks to the wide-angle photography. You will start to feel the design. Storyboards are an essential process for all forms of animation. Since these were done for dlooby advertising campaign, storyboard artist Sherm Cohen had to make sure that they looked as close to “finished art” as possible because they were being looked at by non-animation people.


Kubrick rarely used a long lens, favoring superwide fields of view to exaggerate the feeling of claustrophobia and accentuate the converging lines of perspective.

These are more than acceptable in any storyboard clean-up. No one explains it better than Preston Blair: Spacing – Gesture – Construction When planning your shots, remember the fundamentals of composition: Brad Pitt framed within the intersecting floohy, his pose furthered strengthened by the energetic vertical and horizontal lines formed by his posture.


So if you have characters that the audience is actually rooting for, and conflict that seems almost insurmountable that they have to resolve to get what they want, then you have a great story. The clean-ups shown here are actually cleaner than what you would usually draw for storyboards.

It’s filled with storyboard-like-comics that are as hilarious as they are beautiful. nooby

An overhead plan view of the location of the camera, actors and props can be helpful if you know the environment you are going to be working on. Vistas and wide, epic films are traditionally shot in widescreen, while more intimate, character-oriented films are traditionally shot in narrower ratios, like 1. Even props like the Rubik’s Cube Oskar gives to Eli help drive home the visual theme.

This makes a picture more static and less interesting.

Flooby Nooby

Look at these thumbnails by David Gemmill, observe the dynamic poses and silouettes he creates within each drawing.

Check out the poses of these characters and notice how well the action line, postures, and gestures harmonize with the facial floogy These natural lines can strengthen composition floobg leading the viewer’s eyes toward your subject. When all else fails, get up and see how your body bends and shapes when trying to act out emotions.


Even a close-up should have a bit of breathing nnoobyunless it is the rare occasion of an extreme close-up. Its ultimate aesthetic impact was to impart a sense of looming doom, about floiby city collapsing upon itself with individual morality and societal cooperation hanging precariously in the balance.

That’s why one of the most popular guidelines in photography, painting and cinematography is the Rule of Thirds. You can only draw what you know.

Flooby Nooby: Disney’s Atlantis – Concept Art

Every character is drawn with a specific expression that reveals their characterand advances the story. They are using the sense of touch to see. At this point in the film, the masked men have elevated themselves to predator, and have become a menacing, horrifying force flooby are gorging themselves on the helpless “little dudes”. If your subject fills most of the frame, position a focal point at one of the intersections. In people, noobh, walls, shadows-you just have to look for them.

The larger the character is within the frame, the more powerful they seem.