Reference: The Polar Express

In exploring camera angles for "Sugarplums", I came across some good reference in "The Polar Express", directed by Robert Zemeckis.

In this choice for a wide shot, what is interesting to me are the foreground elements, and what they add to the storyline in relation to the background. I have a spot where I need a bridge and this kind of framing could be useful. (click images to view)

Here is a "hero shot" of the train. I'll need one of these as well. What I don't like here is how the train blows by the camera making it difficult to discern detail. My shot will not be as quick since it will be important to establish the train as a primary element rather than something just "passing through" the frame.

This is just an example of a dramatic low horizon angle that lends majesty to the train. I'll want to see if I can incorporate a similiar camera height, if not the exact point of view.

I think the train shots in "Sugarplums" should have the most dynamic camera angles of all the gifts since it represents the apex of the progression of the dream.

The Polar Express. Dir. Zemeckis, Robert. Warner Bros. Pictures, 2004.

Goals Week 9

• task list > send midweek
• more detailed research outline
• research rough draft > sections OK
• storyboard
• more reference materials
• screen test conclusions
• visual script 1st draft
• time availability chart
• animatic scenes > animate
  

Week 8 Complete

After a small break, the following progress: midterm review submitted, table of contents created, animation update in animatic plus some new frames, stylebook template updated, pre-production journal updated, new reference posted, screen test completed successfully, research for paper, task list started. Seems like I was busy, but a long way to go...

animatic_032609.mp4 (5.87MB)
preproduction_book_03-26-09.pdf (12MB)
screen_test_sample_032609.mp4 (2.4MB)

Reference: Ratatouille

"Sugarplums" script calls for a "magical effect" regarding the series of imagined Christmas gifts. Here's some reference...

In Brad Bird's Ratatouille, "Gusteau" is a ghostly figment of imagination. He is surrounded by swirling particles that remain close to his form. He is slightly transparent and blurry-edged, and he has a wide, bright glow. (click images to view)

The particles emanating from Gusteau are small, gold, and random, creating a "stardust" effect.





When Gusteau moves he leaves behind momentary blurry trails, and the stardust hangs in the air behind him for a short time. The overall effect of these creative choices gives the viewer the impression that this character is unreal...Rather, he is imagined and may appear or disappear at any time.

In "Sugarplums", I imagine a similar treatment for the gifts that appear in the child's dream.

Ratatouille. Dir. Bird, Brad, and Jan Pinkeva. The Walt Disney Company, 2007.

Goals Week 8

• midterm review summary
• storyboards
• screen test kid
• more visual reference
• add detail to research outline
• toner for printer
• update pre-production book
  

Update: Animatic 03.07.09

Christmas added. Is this working better now?

animatic_030709 (5.1MB)

Goals Week 7

• finish storyboard 1st draft
• finish script
• screenplay
• finish animatic 1st draft
• all other midterm deliverables

I also got some of feedback in class this week that I should note. It was unanimously agreed that there ought to be visual cues to Christmas in the storyboards. Myles also felt that the kid appeared to be too old. Not sure if I'll try to address that one or admit defeat regarding my own drawing skills. Also the question of using familiar music came up, and probably will come up again. I think at the very least an alternative should be considered to see if it could be better. Myles has also suggested considering putting the items into a cloud or bubble to give them their own environment. I don't know if I like that idea so I should try to pick his brain as to what gain he thinks will come of it. Maybe he can convince me...

Week 06 Complete

Chipping away toward the midterm review. I should have everything ready for the panel next week. I will be busy, however...

preproduction_book_03-05-09.pdf (8MB)
animatic 03.05.09 (5MB)

Update: Animatic 03.02.09

Here's an updated animatic:

animatic 03.02.09

Regarding Adobe OnLocation

A problem I face in the studio is shooting elements on different days that will require some degree of optical lineup for compositing. I wanted to look into a solution that would allow me to combine an image on a laptop with a feed from a camera to get a rough idea of composition. I have come across this OnLocation CS4 Review by Steve Hullfish at Pro Video Coalition indicating that this software may in fact solve my problem.

"Another super useful feature in OnLocation is the split screen button beneath the field monitor. You can superimpose or split the screen between either two previously shot clips, or between a previously shot clip and the live camera. You can set the position of the split screen and or the opacity of the overlay of one scene onto the other. This allows you to do things like match eye-lines or position actors from different scenes relative to each other. This could even help monitor continuity between scenes."

I'll need to have a look at it, and test to see if it behaves as advertised in my environment.

Hullfish, Steve. "OnLocation CS4 Review." (2009). 29 Mar. 2009 <http://provideocoalition.com/index.php/shullfish/story/onlocation_cs4_review/>.