ASU1 | Mysite

While working on my ASU1 project, I have been able to expand my research into many different areas to deepen my understanding of animation, live action, fight narrative, all the things that I am keen to know more of to help me create my animatic. I have used books, internet, films, animation, videos, and first hand research to explore the key areas that have enabled me to create my animatic. At the beginning, my story was just a simple fight sequence.

Now, coming to the end of the ASU1 Unit, my story has expanded, with now the attacker becoming a ‘yokai’ spirit. Using my research, I feel more able to understand the construction of fight narrative and how fight scenes are put together to create entertaining and engaging action. By creating my moving image, I have been able to explore and trial my thoughts. My research is gathered on different pages on this website, I have written my thoughts to each finding that I have felt have been significant for my learning and to create my moving image.

Understand Art: Case Study: Ghost In The Shell YouTube. https://www.youtube.com/watch?v=gXTnl1FVFBw. Accessed 22 Oct. 2019.

Points highlighted through video

Aspect to aspect ratio/Japanese - Time is abandoned to allow space to evoke a mood and empathise with ‘being there’

Action to Action ratio/ American - Action panel effect suited for goal oriented culture/interest with similar themes within the narrative.

Our dynamics of ourselves and are spaces are one of the same.

My Thoughts

There were interesting and thought provoking points made that I can relate back to my own work. Such as ‘our dynamics of ourselves and are spaces are one of the same’. To me suggests that ‘we’ our ‘characters’ and the world that we place them coexist together. Environment = character, character = environment. It makes sense that they are the products of each other. This has made me think about how my film relates to its ‘own space’ and its relationship between character and environment. How are my characters responding to their environment? How is the environment impacting how my characters behave, react? These are key elements for me to explore and consider when writing/shooting my film.

For the edit, I want my film to look like a manga/comic. In order to do this I need to look into the different styles of panels, and what they represent. A key element for me to explore is the, ‘the difference between action to action ratio and aspect to aspect ratio’.

My goal is to create a stop-motion film, that also looks like a manga/comic by the edit. Researching the different styles of comic/panel effects is valuable in order to tell my story correctly in the most effective, engaging way. And that I have used the panel effect appropriately so that the audiences watching can connect with it as a ‘moving manga’. Aspect to Aspect ratio is fluid with time settings, it's not time per specific. It's all about setting a mood/tone of the scene/overall film, evoking a mood and encourages the reader to embrace the setting and the story itself, without being tied to different elements. Whereas action to action ratio is much more grounded with time, space and environment.

The readers follow the action as it happens and are guided through it. From researching into these two different ratios, aspect to aspect is what I feel may suit my film overall. I want to create an environment where time and space are not relevant. This is a fantasy film, I want to create a world where the characters and their environment are believable, but not tied down to any specific time or place.

“What Is a Yokai? 5 Mysterious Japanese Demons.” Japan Objects, https://japanobjects.com/features/yokai. Accessed 7 Nov. 2019.

What Does Yokai Mean?

‘Yokai is not simply the Japanese word for demon, as is sometimes believed. They are the embodiment of a moment: a feeling of dread and bewilderment, or awe and wonder over an extraordinary event; or a strange sound or peculiar scent that demands an explanation; an ineffable phenomenon explained only by a supernatural entity.’

Where Do Yokai Come From?

Yokai had existed in Japanese folklore for centuries, but was during the Edo period (17th-19th centuries) that they began to be widely seen in art.

What Are Some Famous Yokai?

1.Tengu

The tengu is one of the best-known types of Japanese yokai, often intertwined with stories of mountain spirits and forest dwellers.

2.Kappa

Lying between the periphery of the known and unknown, a yokai is named after the impressions it leaves or after its reported characteristics.

3.Yurei

If the realm of contemporary Japanese horror could be encapsulated by a single yokai, then that yokai would be the yurei (ghost).

4.Oni

They retain their ogre-like features, and though they are pictured with horns and fangs, they have become far more anthropomorphic.

5.Ijin Ijin

are people from what is called Ikai, a world that is beyond our own.

My Thoughts

From this text, I have been able to develop my Yokai character. I have been exploring ideas of how I best can represent this. The text states : ‘Yokai is not simply the Japanese word for demon, as is sometimes believed. They are the embodiment of a moment: a feeling of dread and bewilderment, or awe and wonder over an extraordinary event; or a strange sound or peculiar scent that demands an explanation; an ineffable phenomenon explained only by a supernatural entity.’ Therefore I have been researching into Yokai’s and their differences to gain a broader understanding of their origin and their backstories.

With the idea that Yokais are an embodiment of a moment, and that they can only be explained by a supernatural entity. I have been able to start to explore my Yokai as a ‘spirit entity’ which my protagonist will fight.

Having my Yokai as a spirit entity, I have been exploring the different ways in which to show this and the challenges that it presents. One of the ways in which I have looked into is using UV paint to show the Yokai. I believe this would be an effective way at achieving the idea that a spirit entity has taken over someone. By trialing different looks that I can achieve to best represent this by researching a variety of looks and applying the paint to a puppet/model.

“The Creepiest Japanese Monsters & Demons (and the Stories Behind Them).” Ranker, //www.ranker.com/list/creepy-japanese-demons/christopher-myers. Accessed 22 Oct. 2019.

Onryo

A type of ghost that appear as they were buried, solely exit for vengeance.

Noppera - Bo

A ghost in human form, although has no actual face. Wants to scare humans.

Kyokotsu

A yokai found in wells, who curse people.

Hone-Onna

Appears as a beautiful young woman, who returns to her lover. Thoses not clouded by her beauty she her for what she really is - a skeletal woman with rotten flesh.

Jorogumo

Take the form of a spider, with magical powers who feed on humans.

Datsue-Ba

‘Old hag from hell’ Yamauba Old hags living in the mountains or forest, who first are humans, but over time become decrypted and use powerful magic to kill and consume.

Gashadokuro

Giant skeletons, crushing their victims with their hands, and bites off the victims head.

Ubume

A reincarnation of a women who did not make it through childbirth Yurei A yokai who has unfinished business left in the world.

Oni

Extremely powerful and can cause societal breakdown, reattaching different body limbs. They have blue or read wild hair.

Futakuchi-onna

A two mouthed women, bringing punishment to greedy men and women.

Jikininki

Seek out and feed upon people - they were once selfish people reincarnated.

Gaki

They describe the cycle of reincarnation and are hungry ghosts.

Nuribotoke

Zombie like yokai, who live in home altars.

Yuki-onna

‘Snow Women’ who prey upon lost travelers, they have long black hair and pale skin.

Nuppeppo

A ball of human flesh that is decaying. Namahage Scary messengers from the Gods, they enter villages, knocking on doors to scare and frighten people, particularly lazy people.

My Thoughts

Through this research, I have been able to become more familiar with the different types of ‘yokai’ and what they represent, so that I can overall have a better understanding of what ‘Yokai’s’ represent, but also I can respect the differences between them, in order to make a more informed decision when it comes to choosing how I will interpert my own idea of a ‘Yokai’ into the film.

What elements would I like this Yokai to have? How best to show this? How is it going to fit within my story? From the examples above, I have been able to see that there are various ways in which a ‘Yokai’ can be presented, as a ghost, demon, a women. At the moment, from this resource alone, I can see that there are a few yokais which are represented as women such as Yuki-onna, Futakuchi-onna, Ubume, and Hone-Onna. This is interesting to me, not only from a film perspective, but also a social perspective, where women once seen as evil/demon like? Are they suggesting women are more likely to turn out that way once they have passed? Are women more inclined to be deceitful, and untrustworthy? Tricking men into falling in love with them and then turning on them, deeming men to be cursed?

These thoughts have crossed my mind when looking into this, and I am sure that my research will become more in-depth and informed from extracting different information about ‘Yokai’s’ from various sources. But it's interesting to read as my ‘Yokai’ will be embodied as a man, a human man. Who essentiality has the spirit of a ‘yokai’ within him, and that's why the fight begins.

From researching and abstracting information from this resource, the Yokai that stands out to me the most is a ‘Yurei’, which basically describes a demon who has unfinished business in the world. With this, I can now inform my narrative. I can use this example and expand upon it through further research into a more concrete final decision.

Fight Sequence - The Raid 2 YouTube. https://www.youtube.com/watch?v=L_LwqMOVHlc. Accessed 22 Oct. 2019.

The Raid/The Raid 2 ‘Open Corridor’ YouTube reviewers, (who review VFX and stunt/action scenes)

Watching their review on one of the last fight sequences of the ‘The Raid 2’ they had some interesting and important points to make about fight sequences such as:

• Pauses – tension building

• Dropped frame – which adds more ‘punch’ to your shot

• By cutting one/two frames out for added acceleration – which will make the impact look/feel much harder.

• Colour is important (actors in black against a white background) to help see and follow the action more clearly. My own observations about this fight sequence

• Camera follows action.

• Sweeping movements.

• Cut on important elements – that stop/enhance the fight.

• Build the fight – beginning with ‘sussing’/teasing each other.

• Fast paced fighting with the camera switching perspective, camera gives the feeling the audience are their watching the fight happen

• Standoff with one another during the middle of fight sequence.

• Towards the end of fight, both their movements become more fast paced, building up to the climax/ ending of fight camera is close up to both actors to suggesting the fight can go either way.

Get Visual References for all the films listed and talk about my findings in each one.

‘Utopia is a place where everything is good; dystopia is a place where everything is bad; heterotopia is where things are different’ - (Walter Russell, pg 213)

My thoughts

This quote challenged me to think about my film, how it relates to its own space, and the relationship between character and environment. What does the environment in which my characters live say about them? How do they behave within that environment? How do my characters respond to the environment around them? and vice versa.

I am drawn to the setting of space as heterotopia, things are not necessarily good, nor are they inherently bad. Yes there are elements of dystopia within my film (yokai/demon/fight sequence) But heterotopia space allows me to explore my creativity when it comes to environment and settings that my characters exist.

The world in which I intend to create is different; dark gothic, hand drawn look for the setting/environment, fantasy elements such as a ‘Yokai’ which draw upon traditional Japanses stories, and realistic elements such as human characters and mixed martial arts. All these factors make up the story in which I intend to tell and heterotopia is an element in which I would like to explore.

Here are pictures that I have found that have inspired my narrative, and potential ideas for the overall aesthetic of my film. I have gathered the images from researching time/era, history and combined with my own visual likes/looks, merging the two together to create a visual catalogue.

Fig 1 YouTube. https://www.youtube.com/watch?v=uSjS_l3wGu8&t=165s. Accessed 10 Dec. 2019. Fig 2 YouTube. https://www.youtube.com/watch?v=fhrNgXJ__n8. Accessed 10 Dec. 2019. Fig 3 YouTube. https://www.youtube.com/watch?v=zCjsazHO0c0. Accessed 10 Dec. 2019.

I have made a short list of a few of the live-action sequences I have looked into while forming my report. Each film offers a unique perspective of fighting combat within the narrative but also relies on the typical codes and conventions that make up the action.Watching these fight sequences I have been able to understand that fight narrative is made up of many different codes and conventions to bring alive the action.

Each though I can see similarities in how the film examples are constructed in terms of shot compositions, various close ups and medium shots to connect and highlight points of interest or significant, each film has its own unique take on creating a fight sequence within their narrative. The fight scene of Yojimbo has elements of a spaghetti western/cowboy standoff, such as the scene opens with a wide shots, showing a small, deserted town setting, the protagonist in the distant, looking upon his enemies on the opposite side of the city.

The music building the anticipation steadily as the protagonist and the enemy group slowly move towards each other from the stand off.Kill Bill has references to mixed martial arts and Kung Fu combat style. The fight combat to me represent more of a dance of skill between the two fighters, there is action, with both characters interacting with their swords and then a pauses between them, as they set up for their next ‘act’. There are also typical shots used within fight narrative, such as highlighting a characters weapon, which gives significance to it and its own presence within the scene.

In ‘The Matrix’ the fight between Neo VS Morpheus is set within a ‘sci-fi’ genre. The fighting style references Kung Fu, again, the scene is set with a ‘stand off’ the two characters preparing themselves for the fight. The fighters are quick with their actions and reactions. The Kung Fu style is choppy and intensive, which highlights the characters skills, but also allows the narrative to add the ‘sci-fi’ element to it, as there are extremely high, slow-motion stuns that extdrates the Kung Fu style in a believable, engaging way.

The opening shot to the fight scene is a wide angle that establishes the location also giving context to its scale to allow viewers to understand where the scene takes place as well as the growing void between the two characters. The location influences how the characters will use their environment around them while they are fighting. First we see Yu Shu Lien the camera is focused on her face and her weapon. The shot is centralised on displaying her weapon which is her instrument of empowerment.

Next, Jen Yu, her weapon is introduced first. A clear display of setting up tension and adding dramatic affect to her weapon. Using the weapon as an introductory shot to the scene establishes the significance of the sword within the narrative and the fight. The characters are expressed through their fighting styles and how they react to the combat. Yu Shu Lien, uses a variety of weapons through the combat which displays her skills and tells the viewer that she is a accomploished fighter. Jen Yu however, uses only one sword which displays its importance and power.The narrative is told through the variety of camera angles used in this sequence. This creates a feeling of being close enough to the action to keep engaged with the action.

YouTube. https://www.youtube.com/watch?v=hKTAeQKaKu0. Accessed 10 Nov. 2019.

[0:52 - 1:40 ] This fight from Kubo and the Two Strings particularly stood out to me, as I am going to be creating a short fight sequence myself, with one character acting offensive and the other character on the defensive. I am looking closely at the choice of camera angles used to covay the action. The use of high angles, looking down at our protagonist as she struggles to win the fight, to low angels, where we see from her perspective to be able to empathise with how she feels and what she is facing. The fight sequence is self is quick and engaging, the camera angles used are a great choice to feeling connected to the fight, but also seeing the characters and understanding how they are reacting to. The fight itself is filled with highs and lows that happen very quickly, one moment it seems to tense, going well, and then struggle just before the climax of the fight.

The roller coaster of events, happening within one This sequence has inspired me to also think about pacing within my fight sequence and how my characters will be interacting with one another. The example above, showcases a great example of timing and space between the characters, allowing the characters to breathe, pauses for short moments to suss each other out, and anticipate each other's next moves. But then diving into rapid action when its right to. All things to consider when writing my story and visualizing the fight sequence.

Oni (Demon). 1972 Director: Kihachirō Kawamoto

This stop motion is a great reference for me to use when looking into story. The story is simple and effective and achieves a sense of mysticism. The music really drives the narrative.It is the voice of the film, which allows the viewers to submerge into the world that is presented, but also have an indication of what might be expected, it has an eerie, but dramatic tone. It encompassses the mood but also creates suspense and tension for example, towards the end when the mother is revealed to be an ‘oni’. It dramatises the effect of her change and insuiaties what the brothers are also feeling, shocked and frightened by this realsionsation.

I also really enjoyed how the brothers interacted with the world around them. After the brothers leave the house to go hunting they walk into the woods. As the brothers march through the woods, music timing with their walk, suggesting that they are determined to hunt something down and that they know the woods well, and are confident to hunt.

Fighting Styles

I have been looking into different types of fighting styles to gain a more informed idea of what different fighting styles exist and how they use a weapon and a shield within combat. Here a few examples of the types of martial art and Kung Fu I have been looking into. There have been a few fighting combat styles that have stood out to me, that I have highlighted in this text, with a brief description of each style. I have chosen these particular styles to look at, as I am using film and animation references that use a variety of mixed martial arts in their performances.

''There is no difference, except in how to hold them, and familiarising yourself with them. Any action for the sword and dagger, whether a thrust of a cut, can likewise easily be performed with the sword and rotella, sword or targa, or sword and buckler.” (Giganti, 2013)

Fighting Combat Styles

As I am basing my report around fight narrative, I have been looking into different styles of combat sports, to gain a better understanding of what this actually means and how their are many different forms of fighting combat.There are many different styles of fighting combat that are recognized across the world, such as boxing, wrestling, Brazilian Jiu-Jitsu, Judo, and Kung Fu just to name a few. I have highlighted just a few of the examples I had looked at while forming my research report. ‘Mixed Martial arts (MMA) is a sport that uses combat and fighting techniques. The concept behind MMA is to allow fighters to take down their opponents by using chopping, punching and gripping'. (Ferraino, 2019)

Kendo

The concept of kendo is to discipline the human character through the appreciation of the principles of the Katana. (Bennet, 2015) ‘The reason we love Kendo is simply because we love sports and competition and as every individual has his own particular taste and interest we follow Kendo for the simple enjoyment of it’ (Bennet, 2015)

Tinbe-rochin

Tinbe-rochin is a spear and shield combination in traditional martial arts. This particular style, although not strictly relevant to the style of fighting I want to use as inspiration for my own fight sequence, the spear and shield combination is an aspect for me to explore and look into how these fighters use their weapons. Jiu Jitsu A Japanese martial art for defeating an armed and armored opponent in which one uses no weapon, or only a short weapon is used. Swordsmanship Swordsmanship is the art of attack and defending with sword, and is seen in a variety of fighting combat styles. Examples of these are Fencing, Japanese Sword fighting eg. Kendo and Jigen-ry.

Jiu Jitsu

A Japanese martial art for defeating an armed and armored opponent in which one uses no weapon, or only a short weapon is used. Swordsmanship Swordsmanship is the art of attack and defending with sword, and is seen in a variety of fighting combat styles. Examples of these are Fencing, Japanese Sword fighting eg. Kendo and Jigen-ry.

kawanabe kyosai Fig 1 - Kawanabe Kyosai - Google Search. https://www.google.com/search?tbm=isch&sxsrf=ACYBGNRQR9_h5rx8bE92tXd5LYg9PmuyJQ:1573251212242&q=kawanabe+kyosai&chips=q:kawanabe+kyosai,g_1:skeleton:9kpHNWKW58U%3D&usg=AI4_-kRL3IMjWg06aiNeV8njurJNxkAP7g&sa=X&ved=0ahUKEwj4r5e90dvlAhX0QkEAHcHbAa0Q4lYILigC&biw=1920&bih=969&dpr=1#imgrc=6EWx2wBwWqcCSM: Accessed 8 Nov. 2019. Fig - 2 Kawanabe Kyosai - Google Search. https://www.google.com/search?tbm=isch&sxsrf=ACYBGNRQR9_h5rx8bE92tXd5LYg9PmuyJQ:1573251212242&q=kawanabe+kyosai&chips=q:kawanabe+kyosai,g_1:skeleton:9kpHNWKW58U%3D&usg=AI4_-kRL3IMjWg06aiNeV8njurJNxkAP7g&sa=X&ved=0ahUKEwj4r5e90dvlAhX0QkEAHcHbAa0Q4lYILigC&biw=1920&bih=969&dpr=1#imgrc=r6iyxkvGC5lcMM: Accessed 8 Nov. 2019. Fig 3 - Kawanabe Kyosai - Google Search. https://www.google.com/search?tbm=isch&sxsrf=ACYBGNRQR9_h5rx8bE92tXd5LYg9PmuyJQ:1573251212242&q=kawanabe+kyosai&chips=q:kawanabe+kyosai,g_1:skeleton:9kpHNWKW58U%3D&usg=AI4_-kRL3IMjWg06aiNeV8njurJNxkAP7g&sa=X&ved=0ahUKEwj4r5e90dvlAhX0QkEAHcHbAa0Q4lYILigC&biw=1920&bih=969&dpr=1#imgrc=xxJNFYnGxNvGGM: Accessed 8 Nov. 2019. Fig 4 - Kawanabe Kyosai - Google Search. https://www.google.com/search?tbm=isch&sxsrf=ACYBGNRQR9_h5rx8bE92tXd5LYg9PmuyJQ:1573251212242&q=kawanabe+kyosai&chips=q:kawanabe+kyosai,g_1:skeleton:9kpHNWKW58U%3D&usg=AI4_-kRL3IMjWg06aiNeV8njurJNxkAP7g&sa=X&ved=0ahUKEwj4r5e90dvlAhX0QkEAHcHbAa0Q4lYILigC&biw=1920&bih=969&dpr=1#imgrc=hDbKAixeINtDsM: Accessed 8 Nov. 2019. Fig 6 - Kawanabe Kyosai - Google Search. https://www.google.com/search?tbm=isch&sxsrf=ACYBGNRQR9_h5rx8bE92tXd5LYg9PmuyJQ:1573251212242&q=kawanabe+kyosai&chips=q:kawanabe+kyosai,g_1:skeleton:9kpHNWKW58U%3D&usg=AI4_-kRL3IMjWg06aiNeV8njurJNxkAP7g&sa=X&ved=0ahUKEwj4r5e90dvlAhX0QkEAHcHbAa0Q4lYILigC&biw=1920&bih=969&dpr=1#imgrc=bR1gX1NRQuEd8M: Accessed 8 Nov. 2019.

Kawanabe Kyosai is an artist that has been frequently mentioned from books and internet resources as an inspirational and important figure within Japanses painting.

His paintings were produced during the Edo Period, a time which I have acknowledged being a time where Yokai’s and demons were painted stories in scrolls and art works, and where explored in a variety of forms.

His particular fondness for painting skeletons have been infulnational on my work for my character of the Yokai, and what form I can show my spirit entity in. I have gathered some images of his work that is most influential to me and my project.

https://www.bing.com/images/search?view=detailV2&ccid=iL2zGHXI&id=DD161F97E7D5CBDE2BDCF07E0BA819853AB2F13E&thid=OIP.iL2zGHXIZ-

Here are a few images that feature different representations of a Yokai, covered in a variety of stories with each presenting a different pesona of the Yokai. Here they are presented as demons, skellingtons and spirits. All with the intent to cause havoc, death and destruction of life.-

Fig 1 - Mythology Yokai - Google Search. https://www.google.com/search?tbm=isch&sxsrf=ACYBGNRxOSzpriXn0U9kfu1iAhUKxkf3cQ:1573145836484&q=mythology+yokai&chips=q:mythology+yokai,g_1:real+life&usg=AI4_-kSJZRjU701ePCSUBdl6aceTbnSUtw&sa=X&ved=0ahUKEwjsvo32yNjlAhWHQkEAHTOsCAYQ4lYIMigI&biw=1920&bih=920&dpr=1#imgrc=PGNcK89br7oBqM: Accessed 7 Nov. 2019. Fig 2 - Mythology Yokai - Google Search. https://www.google.com/search?tbm=isch&sxsrf=ACYBGNRxOSzpriXn0U9kfu1iAhUKxkf3cQ:1573145836484&q=mythology+yokai&chips=q:mythology+yokai,g_1:real+life&usg=AI4_-kSJZRjU701ePCSUBdl6aceTbnSUtw&sa=X&ved=0ahUKEwjsvo32yNjlAhWHQkEAHTOsCAYQ4lYIMigI&biw=1920&bih=920&dpr=1#imgdii=WFTtDqpJg0idWM:&imgrc=rDPoI5v_T7uRVM: Accessed 7 Nov. 2019. Fig 3 - Mythology Yokai - Google Search. https://www.google.com/search?tbm=isch&sxsrf=ACYBGNR91_HdFDCwINvaOr8azTUtdYgZcA:1573145832450&q=mythology+yokai&sa=X&ved=0ahUKEwiVpJf0yNjlAhVkmVwKHfAdAjEQrNwCCGcoAg&biw=1920&bih=920&dpr=1#imgrc=lkmK70pYSwAc_M: Accessed 7 Nov. 2019. Fig 4 - Mythology Yokai - Google Search. https://www.google.com/search?tbm=isch&sxsrf=ACYBGNRxOSzpriXn0U9kfu1iAhUKxkf3cQ:1573145836484&q=mythology+yokai&chips=q:mythology+yokai,g_1:warrior&usg=AI4_-kQYhaC5oE1BkybBPnEiJiH5w14Tdg&sa=X&ved=0ahUKEwjsvo32yNjlAhWHQkEAHTOsCAYQ4lYINygN&biw=1920&bih=920&dpr=1#imgrc=ylw3tD_e4NIj5M: Accessed 7 Nov. 2019. Fig 5 - Mythology Yokai - Google Search. https://www.google.com/search?tbm=isch&sxsrf=ACYBGNRxOSzpriXn0U9kfu1iAhUKxkf3cQ:1573145836484&q=mythology+yokai&chips=q:mythology+yokai,g_1:warrior&usg=AI4_-kQYhaC5oE1BkybBPnEiJiH5w14Tdg&sa=X&ved=0ahUKEwjsvo32yNjlAhWHQkEAHTOsCAYQ4lYINygN&biw=1920&bih=920&dpr=1#imgrc=n1Fs4gjY7jEUWM: Accessed 7 Nov. 2019. Fig 6 - Mythology Yokai - Google Search. https://www.google.com/search?tbm=isch&sxsrf=ACYBGNRxOSzpriXn0U9kfu1iAhUKxkf3cQ:1573145836484&q=mythology+yokai&chips=q:mythology+yokai,g_1:warrior&usg=AI4_-kQYhaC5oE1BkybBPnEiJiH5w14Tdg&sa=X&ved=0ahUKEwjsvo32yNjlAhWHQkEAHTOsCAYQ4lYINygN&biw=1920&bih=920&dpr=1#imgdii=5eecLQm0GUpoNM:&imgrc=7_67xguQrzbxnM: Accessed 7 Nov. 2019.

Character Designs

Main Character

I have put together a moodboard of what my main character clothing/armour could look like. How she is dressed will allow the audience to gain some understanding about who she is and her role within her world. I know my character is not from a wealthy or established background, nor is she an accomplished fighter, but she does practice.

To show this in the film, my character will be dressed with basic tunic and robes, but slightly armoured in places such as her arms and legs, to suggest that she has fought in the past, or at least has needed to defend herself. The colours for her outfit will be a mix of grey,sliver,and browns.

I want to suggest that she is a neutral character, who lives a simplistic life. Not giving to much of her character through her design, but more so in her performance. From these images, I will create sketches for a basic character foundation that I can develop through my practice.

Fig 1 - Female Battered Armour - Google Search. https://www.google.com/search?biw=1920&bih=920&tbm=isch&sxsrf=ACYBGNSP02oHPwJDjjVtLo1TPFRQzEuMhg%3A1573495894203&sa=1&ei=VqTJXcyEDPq21fAPo8GV0AM&q=female+battered+armour&oq=female+battered+armour&gs_l=img.3...6748.12100..12236...1.0..0.70.954.18......0....1..gws-wiz-img.......35i39j0i67j0j0i131j0i5i30j0i8i30j0i24.vBQ2T0gMYTs&ved=0ahUKEwjMh9H-4OLlAhV6WxUIHaNgBToQ4dUDCAc&uact=5#imgrc=nNCb_u58DGHkMM: Accessed 11 Nov. 2019. Fig 2 - Realistic Female Armor Art - Google Search. https://www.google.com/search?tbm=isch&sxsrf=ACYBGNSmfsGC1N1UBsjdbIjn4zRWlylwpQ:1573495697723&q=realistic+female+armor+art&sa=X&ved=0ahUKEwic5_ig4OLlAhXNUBUIHdIDBacQrNwCCFgoCA&biw=1920&bih=920&dpr=1#imgrc=PUoD8hbnr8uGlM: Accessed 11 Nov. 2019. Fig 3 - Skyrim Tunic Robes - Google Search. https://www.google.com/search?biw=1920&bih=920&tbm=isch&sxsrf=ACYBGNRvUTnIVpZzdUMfvdCazaO379kiPQ%3A1573496574947&sa=1&ei=_qbJXdi9OcOd1fAPzvmhqAg&q=skyrim+tunic+robes&oq=skyrim+tunic+robes&gs_l=img.3...19648.32408..32472...2.0..0.67.1094.19......0....1..gws-wiz-img.....10..35i362i39j35i39j0j0i67j0i8i30j0i30.9HhxhWgX1uY&ved=0ahUKEwjYtJ7D4-LlAhXDThUIHc58CIUQ4dUDCAc&uact=5#imgrc=dMMLaCt4G8BOEM: Accessed 11 Nov. 2019. Fig 4 - Female Battered Armour - Google Search. https://www.google.com/search?biw=1920&bih=920&tbm=isch&sxsrf=ACYBGNSP02oHPwJDjjVtLo1TPFRQzEuMhg%3A1573495894203&sa=1&ei=VqTJXcyEDPq21fAPo8GV0AM&q=female+battered+armour&oq=female+battered+armour&gs_l=img.3...6748.12100..12236...1.0..0.70.954.18......0....1..gws-wiz-img.......35i39j0i67j0j0i131j0i5i30j0i8i30j0i24.vBQ2T0gMYTs&ved=0ahUKEwjMh9H-4OLlAhV6WxUIHaNgBToQ4dUDCAc&uact=5#imgrc=qB47mxGHdSf2JM: Accessed 11 Nov. 2019.

Yokai Spirt

Fig 1 and 3 - Uv Skeleton Makeup - Google Search. https://www.google.com/search?q=uv+skeleton+makeup&sxsrf=ACYBGNTOTvF7FjHGFqIj2rmHWnK2LZexbg:1573493688117&source=lnms&tbm=isch&sa=X&ved=0ahUKEwi6ptji2OLlAhWRtXEKHTzZBq4Q_AUIEigB&biw=1920&bih=920#imgrc=ExNwz1bMVltiSM: Accessed 11 Nov. 2019. Fig 2 and 5 YouTube. https://www.youtube.com/results?search_query=kda+league+of+legends. Accessed 11 Nov. 2019. Fig 4 - Black Light Makeup - Google Search. https://www.google.com/search?tbm=isch&sxsrf=ACYBGNThiltXaB91Si-uB9w0AdLXn6mP5Q:1573493776774&q=black+light+makeup&spell=1&sa=X&ved=0ahUKEwixuPuM2eLlAhWEonEKHVFCDDUQBQhuKAA&biw=1920&bih=920&dpr=1#imgdii=idfni7H7QUCf5M:&imgrc=yIStBVv2zPvzjM: Accessed 11 Nov. 2019. Fig 6 - Black Light Makeup - Google Search. https://www.google.com/search?tbm=isch&sxsrf=ACYBGNThiltXaB91Si-uB9w0AdLXn6mP5Q:1573493776774&q=black+light+makeup&spell=1&sa=X&ved=0ahUKEwixuPuM2eLlAhWEonEKHVFCDDUQBQhuKAA&biw=1920&bih=920&dpr=1#imgrc=yIStBVv2zPvzjM: Accessed 11 Nov. 2019

Fig 1 - Yokai Face Paint - Google Search. https://www.google.com/search?biw=1920&bih=920&tbm=isch&sxsrf=ACYBGNTEQWc12dQYjrsAGg_reyi3wrdZEA%3A1573487956322&sa=1&ei=VIXJXbusE4LrxgOkxJS4BQ&q=yokai+face+paint+&oq=yokai+face+paint+&gs_l=img.3..35i39j0i30.3933123.3933260..3933471...0.0..0.68.129.2......0....1..gws-wiz-img.k0OF79gx4eg&ved=0ahUKEwi7pse1w-LlAhWCtXEKHSQiBVcQ4dUDCAc&uact=5#imgrc=lvAe4HVw3R4hfM: Accessed 11 Nov. 2019. Fig 2 - Yokai Face Paint Designs - Google Search. https://www.google.com/search?q=yokai+face+paint+designs&sxsrf=ACYBGNRv1HFPPcDioqOd8e0e06gTZBQqCQ:1573487953147&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjouYW0w-LlAhVXUBUIHZrPCZgQ_AUIEigB&biw=1920&bih=969#imgrc=gsAV2PeWUIgxBM: Accessed 11 Nov. 2019. Fig 3 - Yokai Face Paint Designs - Google Search. https://www.google.com/search?q=yokai+face+paint+designs&sxsrf=ACYBGNRv1HFPPcDioqOd8e0e06gTZBQqCQ:1573487953147&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjouYW0w-LlAhVXUBUIHZrPCZgQ_AUIEigB&biw=1920&bih=969#imgrc=nD0gHyFQsvwujM: Accessed 11 Nov. 2019.

YouTube. https://www.youtube.com/watch?v=IA-v_LB3Qpc. Accessed 22 Oct. 2019

In one of League Of Legends many animatics, this particular short uses the split screen/panel effect. In the video, the characters/backgrounds are moving, which is the effect I would like to use in my own film. Although, in my film, there would not be as many panels moving at the same time, as to not to overcrowd the screen with too much information, which can be hard to follow.

Manga References

I have been looking at different manga's for visual references to see how they visually covey a fight scene and emotion of the characters. This is an important aspect for me to look into as I am creating my own fight sequence and I want to use the panel style effect in some areas of the film. The manga's referenced below have been an inspiration for me to use to help visually create my animatic.

Vagabond Viz Big Edition 1

Vagabond is a great example of the aspect to aspect idea, the use of long rectangular panels, that fill half the page with detailed scenery and action. Its inviting you into the ‘unnamed’ a place that does exist, but is a mystery. Although clues into time setting can be subtlety scene in details such as clothing and weaponry, this does not take away from the illusion of place and time. From these examples I have been able to see how effective setting a tone/mood is by showing the environment.

The environment our characters are in will have an impact on how they react. Showing the readers the characters setting, helps readers to gain a sense of their world and how they maybe responding to it. This is something for me to consider when storyboarding my idea and how to best show my viewers the world in which my characters live while setting the overall tone and mood of my scene.

FULLMETAL ALCHEMIST, FULLMETAL EDITION, VOL. 05

I have taken some pages from the manga ‘FullMetal Alchemist’ as they cover interesting points such as the aspect to aspect ratio, where time and space and permitted and the reader get the sense of ‘being’ their, rather then where? The panels used also cover action sequences. In this example, compared with the DBZ examples, Fullmetal allows for time and pace to build to the action. The use of long rectangular panels show movement, and an insight into where the characters are. The action is direct and easy to follow by the use of these rectangular panels but also closer smaller panels to show reactions. The panels and pages are not overcrowded with too much information, constructing a concise and flowing story. I will be referencing these examples when it comes to my own work.

Dragonball Super / Dragonball Z (Sayain Arc)

I have taken pages from two Dragon Ball Z mangas and abstracted some of the imagery that I feel is relevant to the style I wish to convey in my overall edit. With Fig 1 and 2 I was particularly interested in how the emotions and reactions of characters are shown throughout a fight sequence. Both feature reaction and then reaction shots. Which allows the viewer to literally read what is going on, and this is reinforced by showing how the characters react to the action.

The readers are told directly how a character feels by the use of close up panels on the characters within the scene, therefore allowing the reader to understand the emotion of the scene and creating anticipation as to what could be at stake for the character. I am also interested in the panel choices used to highlight points of interest through the fight sequences. The panels display how the story should be read but also what drives the story. The vertical panels to show movement and speed, the recentaglar to highlight key characters, their presences within the scene and dialogue. And the triangular panels to show explosions/power, and turning points within the narrative. Using these examples, it has influenced my own work when it comes to storyboarding my fight sequence.

I will be considering the choice of panels that I will use for emotional impact and dramatic effect, but to bare in mind not overcrowd the screen with too much information. I can see that the use of the panels is effective on the reader and that the way in which they are used to encompass the world in which the characters live (and die!) in. If I want to use this style within my film, I have to be sure it is suited and relevant to what I am trying to say, but most importantly that the viewer is able to follow and read what is happing on screen.

Book Research

Here is a collection of book research I have gathered along the way, that has been imperative to my learning and story development. The title for each book is included as the subject for each text extraction. At the bottom I have added my thoughts and what I have found, learnt and taken forward with me through my reflective journal.

The Book of Yokai - Google Search. https://www.google.com/search?q=the+book+of+yokai&sxsrf=ACYBGNRdBuR3zXrb89DqulQzWQjNve4URw:1573670088377&source=lnms&tbm=isch&sa=X&ved=0ahUKEwig1fH06eflAhWhwOYKHdt8DH8Q_AUIEigB&biw=1920&bih=920#imgrc=5TSkeuuoqAMD5M: Accessed 13 Nov. 2019.

Foster, Michael Dylan, and Kijin Shinonome. The Book of Yokai: Mysterious Creatures of Japanese Folklore. University of California Press, 2015.

Yokai, Folklore and this book

Introducing Yokai

In Japan such a force and the forms it takes it often called a Yokai. And Yokai notoriously, take many different forms - they are commonly associated with folklore, and with small villages or old cities o deserted mountain passes, but they have long populated literature and visual imagery. Today they are found throughout Japanese anime, manga, video games, movies, and role-playing games. [pg.5.]

Research Yokai

A complementary form of researching is archival -digging through primary sources. This might mean reading old texts written in Edo Period images of illustrated books. [pg.9.]

Folklore does not belong to an individual creator or a single group - it belongs to all the people who engage with it, [pg.9.] Of course, the folk for whom Yokai are relevant are long ago warriors from the Heian (794 -1185) or Kumakura period (1185-1333) or urban merchants from the Edo Period. (1600-1868), or perhaps even contemporary farmers working in small rural villages. [pg.13.]

The Language of Yokai

Yokai The term itself is made up of two chinese characters (Kanji) both of which dento strangeness, mystery, or suspicion. [pg.19.]

Gods, Monsters, Strange Beasts, Ghosts

A key concept associated with Yokai is Kami (Kami-Sama), meaning ‘God’ or ‘Deity’. (pg.19/20.]

In short, although it is tempting to think in terms of a simple opposition - Kami good and Yokai bad - the line between the two is blurry. Yanagita Kunio, the father of folkloristics in Japan, suggested that Yokai are kami that have ‘degraded’ over time, and idea that suggests and intimate relationships between the two. [pg.21.]

Both Kami and Yokai reflect a way of thinking often called animistic, meaning that the things in the world around us - rocks, rivers, even musical instruments - can possess animating forces or spirits.

Yurei Finally, one more relevant word is Yurei, generally translated as ‘ghost’. [pg.23.]

Writing in 1936, Yanagite Kunio argued that in the past people we clear about the differences between ghosts (Yurei) and Yokai. He points out distinctions with regard to place, victim, and time and Yokai, he explains, ‘ Generally appeared in set locations. If you avoid these particular places you could live your entire life without ever running into one.’ On the other hand, Yurei were not associated with particular locations but would chase after you wherever you happen to be. Connected to this is the fact that Yokai were not particular about who they tormented. ‘They did not choose their victims; rather, they targeted the ordinary masses.’ In contrast, Yurei ‘only targeted the person was concerned with.’ Finally, Yokai could appear any time of the day or night but preferred the ‘dim light’ of twilight or dawn. Yurei only came out during the time of ushimitsu the third quarter of hour of the ox, about 2:00-2:30am when night was at is darkest. [pg.23.]

In some cases, a person becomes a ghost because he or she has died suddenly without any opportunity to make peace with the world. This type of ghost is common in legends and personal experience narratives, in which the plot revolves around the sudden, shocking realization that a person who seems very much alive is actually dead. [pg.24.]

Shape-Shifting History

The Edo period witnessed the rise of Kabuki drama and ningyo joruri puppet theater. [pg.43.]

Post was animation and the Yokai Boom

The individual most responsible for making Yokai relevant during this period was the manga artist Mizuki Shigeru. [pg.61.]

The new Yokaigaku is a discipline that researches the Yokai that human image (create), that is Yokai as cultural phenomena. [pg.67.]

My Thoughts

My Thoughts From this book I have been able to deepen my understanding of a Yokai, and its place within culture and society, through manga, comics, video games and film/TV. I have been able to strengthen my understanding of what a Yokai represents and the many different variations of a Yokai. This book has also been helpful to create the foundation of my Yokai character. For example, the book states that researching into the Edo Period as a good reference point to see what type of Yokai’s were drawn and written about, but to also understand the culture at that time and what their thoughts and beliefs were, which may have influenced their writings about Yokai’s and demons.

The Edo period was also a time where drama was heightened through plays at the puppet theater, which featured stories of Yokai and Yurei (Gods). Another point that the books covers that stood out to me, was a time and place where Yokai’s would most likely appear. I have learned that Yokai demons can come out any time of the day, but preferred ‘dim light’, twilight, or dawn. This is a perfect example for me to back up my story as I had envisioned the time of my film to be early evening, where everything is starting to get dark. This will also help with visualizing the Yokai, as I want to use blacklight/UV paint to show the Yokai’s spirit possession. The book covers also the idea that once someone has died, they become a ‘ghost/spirit’ as they have not had a chance to finish what they had set out to do. Or make peace within their world. Again, this is great information to use for writing my story. My Yokai lives within the village woods, coming out at night on people that maybe passing by.

Overall this book has been a useful resource to reflect and use as a foundation to explore my story development further.

Fig 1 - Hooks, Ed. Acting for Animators. 2017. - Google Search. https://www.google.com/search?biw=1920&bih=920&tbm=isch&sxsrf=ACYBGNQXfDXjomI7oKqHroxyL50u_Ue3KA%3A1573407588212&sa=1&ei=ZEvIXarODICD1fAP-aemeA&q=Hooks%2C+Ed.+Acting+for+Animators.+2017.&oq=Hooks%2C+Ed.+Acting+for+Animators.+2017.&gs_l=img.3..35i39.7127.7723..8135...0.0..0.62.115.2......0....1..gws-wiz-img.T2w-Az9yjtE&ved=0ahUKEwiqkIeDmODlAhWAQRUIHfmTCQ8Q4dUDCAc&uact=5#imgrc=Bq4r4Ne7KbPSRM: Accessed 10 Nov. 2019. Fig 2 - Hayes, Derek, and Chris Webster. Acting and Performance for Animation. Focal Press, Taylor & Francis Group, 2013. - Google Search. https://www.google.com/search?q=Hayes,+Derek,+and+Chris+Webster.+Acting+and+Performance+for+Animation.+Focal+Press,+Taylor+%26+Francis+Group,+2013.&sxsrf=ACYBGNQ3i9lx3DS45e1jM7WulAL3Z9Ae1Q:1573407280886&source=lnms&tbm=isch&sa=X&ved=0ahUKEwiLpsHwluDlAhWRRhUIHRzkBDIQ_AUIFCgD&biw=1920&bih=969#imgrc=3Kcyc41gotfAYM: Accessed 10 Nov. 2019.Fig 3 - Hooks, Ed. Acting for Animators 3 - Google Search. https://www.google.com/search?biw=1920&bih=920&tbm=isch&sxsrf=ACYBGNTCu5vgU4RYXI_2e1ag_uoLtV_sDg%3A1573407681985&sa=1&ei=wUvIXe_fO4SU1fAP_cyYaA&q=Hooks%2C+Ed.+Acting+for+Animators+3&oq=Hooks%2C+Ed.+Acting+for+Animators+3&gs_l=img.3...2453.2842..3152...0.0..0.51.98.2......0....1..gws-wiz-img.......35i39.3mgrrlowOV8&ved=0ahUKEwivxOKvmODlAhUEShUIHX0mBg0Q4dUDCAc&uact=5#imgrc=xAURmlmvrrEjgM: Accessed 10 Nov. 2019.Fig 4 - Glebas, Francis. Directing the Story: Professional Storytelling and Storyboarding Techniques for Live Action and Animation. Elsevier/Focal Press, 2009. - Google Search. https://www.google.com/search?q=Glebas,+Francis.+Directing+the+Story:+Professional+Storytelling+and+Storyboarding+Techniques+for+Live+Action+and+Animation.+Elsevier/Focal+Press,+2009.&sxsrf=ACYBGNRz1XNN1yKAg8s4FwMWUbuCA4caGA:1573407765635&source=lnms&tbm=isch&sa=X&ved=0ahUKEwiZkNTXmODlAhVkQRUIHUjeA0gQ_AUIEigB&biw=1920&bih=920#imgrc=zudyvokTH98rlM: Accessed 10 Nov. 2019.

Directing the story

Why Do We Watch?

What's at stake is nothing less than life and death. Stories answer the big questions in life. How can we find love? Can love conquer fear? Where did we come from? What does it all mean? You need to find the universal in the particular of your story. [pg.5.]

Once you know your story is, you have to show your audience what's at stake. Don't tell your audience. You have to show them what's at stake if the mission fails. [pg.5.]

We also remember things better when we are emotionally involved. Show the audience why your character are absolutely driven to do what they do. Characters drive stories, like characters who go after a foal and face obstacles, make decisions and then take action of life-changing consequences. [pg.5.]

Storyboarding is a tool for rewriting of a written script into a visual plan.[pg.6.]

Why do we watch and more

The first thing the audience does is bring their expectations. Second, they have to see the images clearly. Thirdly, the audience reacts to the image. Foruth, the audience constructs the story in their head assigning meaning to what they see. We have to help them follow the story. Next, meaning evokes emotions. When the audience is led to expect certain outcomes, they automatically feel things. [pg.19.]

Dan P McAdams believes we create ourselves through narrative: ‘ If you want to know me, then you must know my story.’ [pg.19.] (McAdams D. The stories we live by Personal Myths and the Making of the Self. Guilford Press, 1997.) Points to Remember We watch movies to feel good. Meet that need in your audience. Make sure that your story is about something that matters. Aim at providing an emotionally satisfying experience for your audience, but work at a structural level.

The secret of storytelling is story-delaying.

Learn the difference tactics to tease your audience by making them wait. The next time your at a movie, pay attention to what experiences you are going through as you watch. Notice what triggers your emotions. [pg.19.]

How to draw for storyboarding: Motion and Emotion

The Story Drive Of Emotions: There are four main emotions: Fear, Joy, Sadness and anger. For storytelling it is interesting to think of emotions in story terms. Joy and happiness are not really powerful story drivers. Laughter is great for a change of pace. Fear and Terror are also powerful story drivers. Wonder and awe usually have a specific moment to appear in film. Pride, envy, suspicion and arrogance are great emotions for villains. [pg.87.]

Basic Lighting Key light - provides main and source of illumination Back light - Creates a rim of light around the edge that separates the figure from the background. Fill light - Fill in the shadows created by the key light to soften them. [pg.91.]

How to direct the eyes visual clarity

To understand a film a director must visually provide two things for their audience. First, the director must direct the viewer's eyes where to look. Second, once the viewers know where to look, they need to know what they are looking at. [pg.157.]

Where do I put the camera?

The key question for the director should not be where do I put my camera, but rather, how can I stage this to be clear and produce the mood that will enhance my story? What are the secrets to directing the eyes? [pg.158.]

How To Make Images Speak: The Hidden Power of Images

Denotation

Denotation is what a thing is in common language. It is the literal dictionary meaning of something. [pg.217.]

Connotations

Connotations are what are evoked in the mind of the viewer by what they see. They are the associated meanings to something. [pg.217.] The Mind Makes Associations Our mind basically work by using associations. Logic requires a lot of thought.Associations are immediate. Remember logic does not persuade people, stories, and stories evoke associations. [pg.217.]

How Image Ask Questions

When we see images, what do they signify.[pg.222.]

What is it? What is going on? Why do I care? Why should I care? What do the characters depicted want? What will happen next? What may change that can set something in motion? Aiming For The Heart Emotional Truth The goal of filmmaking is to have the maximum impact upon the audience emotionally. While challenging them intellectually. Film is about emotional truth, not logic. [pg.134.]

Music and colour: Not meaning but meaningful

Music can create a more convincing atmosphere of time and place. Music can be used to create psychological refinements - the unspoken thoughts of a character or unseen implications of a situation. Music can serve as a natural background filler. Music can build a sense of continuity in a film. Music can provide the underpinning for the theatrical build up of a scene and then round it off with a sense of finality. [pg.315.]

My Thoughts

From this book, I have been able to abstract information that highlights important aspects of directing a story. There have been a variety of areas of film making covered in this book, but I have chosen parts of the book and that I can take with me while creating storyboarding and visualizing my film. While storyboarding, I have to consider what angels that I want to use to tell my story and why these specific angels, what do the mean to the story, how will the viewers interpret what the visuals are saying? The camera angles will enhance the mood and tone of my film, I will be the lens for my audience to look through and I am hoping to produce an engaging piece that covers a story of triumph. It's important to direct the audience eyes to exciting incidents and to show them the action so they remain engaged with the story.

I will also be considering my audience engagement to my story, the book covers that the audience are invested with their emotions, this is an important aspect to consider. I am creating a short film that is based around a fight sequence, and with that comes stereotypes and expectations. I believe there must be some typical codes and conventions of a ‘fight’ in order to live up to that expectation, but also to put my own spin on it, and allow the audience to see our protagonist and how she feels about her situation. Pre-visualises my story will help me greatly in understanding the story that I want to tell and how this will look overall. I will be able to see what will work and what does not. I will work out the pacing and overall tone of the film and if the styles of panels will work effectively.

Another topic covered was music, and its points to remember where an important abstract for my to consider. Although this will be covered in a later project, it is worth considering what music/sound can add to a film, and what music/sound used will speak for your film where words cannot. Setting the right mood and tone for your world is in heart and rhythm of a film, working with music/sound in my film will enhance the action and drive the story.

Hooks, Ed. Acting for Animators. 2017./ Hooks, Ed. Acting for Animators: A Complete Guide to Performance Animation. Rev. ed, Heinemann, 2003.

In thy face I see honor, truth, and loyalty - Willam Shakespeare. [pg.62.]

Why Story Matters We are storytelling animals. It is one of our most distinguishing characteristics. We take turns telling stories to one another, and we can empthise with fictional characters. [pg.28.]

Stanislavsky taught that characters have actual rhythms - slow, medium, and fast. He contended that on actor needs an organic connection to these rhythms in order for the performance to be ‘truthful’. This can be a useful tool for the animators. [pg.32.]

A gesture can express an inner emotional state that might be even in contradiction to what the character is saying. As an evolutionary adaptation, our sense of sight is a lot more powerful that our sense of hearing, so what you should an audience is going to count for more that what you tell it. [pg.36.]

Gestures are actually a more primary form of expression than words are. [pg.36.]

For every mood there is a gesture.[pg.36.]

A scene of animation is more or less a series of gestures drawings..that is why I continually suggest [implore] that you do not attempt to copy the model, but rather capture and draw the gesture. Draw verbs not nouns. A noun is a thing that can be named! A verb is that thing given the breath of life. [pg.42.]

The ability to animate is a kin to the ability to act. Animation is, in effect, acting on paper. This doesn't mean an animator must be able to act well on stage or before a camera, but that he must certainly be sensitive to poses and gestures that portray the various moods and emotions that storytelling demands. [pg.42.]

Acting is a process of exposing not hiding.[pg.42.]

If you want to create that mysterious ‘illusion of life’ you will take into consideration this bit about exposing rather than hiding. Whether in animation or live action, acting is about feelings, emotions, choices and attitude. [pg.53.]

In video games, the player is generally part of the action;in other words, she is an actual character in the game - expect during cinematics. [pg.77.]

Hooks, Ed. Acting for Animators: A Complete Guide to Performance Animation. Rev. ed, Heinemann, 2003.

Third Edition Seven Essential Acting Principles [pg.11/12]

Thinking tends to lead to conclusions, and emotions tends to lead to action. Emotion (noun) : An automatic value response The kind and degree of emotion you feel is directly related to the values that you hold[pg.13.]

You feel emotion, and you do something about it. Emotion tends to lead to action, acting is doing. [pg.14.]

We humans empathise only with emotion. Your job as a character animator is to create in the audience a sense of empathy with your characters.[pg.15.] The illusion of life rests on empathy. [pg.15.]

Antonin Artaud said ‘The actor is an athlete of the heart’ (The theater and its double) so too is the character animator. [pg.15.]

Theatrical reality is not the same as regular reality. We should show parts of time you want to show [time and space pass differently to ‘real reality.] [pg.18.]

Acting is doing, acting is reacting. You character should play action in pursuit of an objective while overcoming an obstacle. [pg.18.]

Your character should play an action until something happens to make him play a different action. Learn how to allow your characters to react. [pg.22.] A character's reaction has everything to do with that particular characters vaules - know your character well! [pg.22.]

Scenes begin in the middle, not at the beginning. In order to determine how your character should move when he enters the door on the left, you need to create the reality of what he was doing on the other side of that door. [pg.25.]

A scene is negotiation. Remember there are three kinds of conflict. Conflict with self, with the situation and with another character. This is negotiation. [pg26.] An adrenaline moment is something the character has - not the audience. [pg.36.]

Movement and body language. Animation is movement! Movement is animation! [pg.46.]

Sight We see before we hear Hearing we hear something before we can smell it.

My Thoughts

From both books, I began to understand the importance of acting within animation. Characters, engaging and interacting with their world. Bringing to life the environment around them and the emotions they feel about being there. To achieve this, acting to their environment is essential to compelling characters and story telling. Acting brings to life your character, it gives personality, depth, and emotional responses that are driven from character performance and development. My story will have no words, only Foley and reaction sounds (along with a score). The acting must drive the story, it is essential that I understand and know how my characters feels.. My characters body language and reactions and vital to setting the mood and tone to my story, viewers are there to watch a story unfold, and are open to connect and engage with the characters on screen. To achieve this, there has to be realism within the characters a sense of ‘self’. Each character has its own rhythm and through experimentation through stop-motion, I will be able to practice this. How does my character react to being attacked? Frightened? Angry? How to express this, the emotion, are important elements to keep in mind through my process.

Hayes, Derek, and Chris Webster. Acting and Performance for Animation. Focal Press, Taylor & Francis Group, 2013.

Acting and performance for Animation Introduction Animation Principles The 12 principles are:

Squash and stretch

Anticipation Staging

Straight ahead

action and pose to pose

Follow through

overlapping and action

Slow in and slow out

Arcs

Secondary Action

Timing Exaggeration

Solid

Drawing Appeal

They are all essential to creation of well animated characters. But too tight on technique can lead to characters that move well while being inexpressive (pg.xiv.)

Becoming an Actor

Despite the fact that they do not perform directly for an audience, animators working with character-based performance animators ARE actors. [pg.xvi.]

As with animation timing skills, performance and acting skills are completely transferable. Good acting is good acting regardless of the animation process. [pg.xvii]

Becoming a Creative Practitioner

Look beyond animation toward live action, television,theater, music, opera,dance,literature,fine art,games and play,sport,photography,politics,the environment,wildlife,science,nothing should be off limits. Above all as animators the engage in performance-based work, we need to have a good understanding of people and what makes them tick. [pg.xx.]

Chapter 1

Creative Approaches to Animation Simulation

This classification of animation is one that aims for a high degree of accuracy in its replication of naturalistic actions that can only be applied to movements that are seen in nature. [pg.2.]

Simulation animation aims to replicate exactly or as nearly as possible that actual action or dynamics of objects or phenomena. [pg.2.]

Representation

The kind of animation that falls into the category of representational animation does not have the same constraints as simulation animation. It may demand less accurate movement that can be seen in the actual behaviour of the subject, and while this classification of animation may be extended to movements that seem real, it can also be applied to objects that may pass as real. [pg.2.]

Using this same approach, it is possible to create ‘believable’ animation of creatures that are completely fictitious. [pg.2.]

Interpretation

This kind of approach to animation allows for a more creative and individual use of animation and dynamics. [pg.2.]

Abstraction of movement and dynamism, which includes the creation of completely abstract animation, falls into this category. [pg.3.]

In its most abstract form, interpretation animation may not be animation of a subject but may be animation about the subject. [pg.3.]

The work of Clive Walley, one of the most underrated animators of our time, is a good example of this. His piece ‘Dark Matter’ deals with subatomic matter theoretical aspects of quantum mechanics. [pg.3.]

Story Story Story

All forms of animation need a gripping narrative structure and characters we want to get to know. [pg.4.]

If you keep abreast of developments in movie making, it won't have escaped your notice that the idea that story is king, and the basis of all good films have become a kind of mantra. [pg.4.]

Writing your Own Script

The upside of a self-penned script can be the filmmaker’s real engagement with the material and a thorough knowledge of the situation and characters. The downside can often be that, having come from the visual side of the process, the filmmaker may be too interested in working with a new animation technique or doing something visually stunning or wildly experimental.[pg.6.]

Animation tells stories without words, and if the practitioners can short-circuit the habits of verbal thought, this can lead to images of telling simplicity and emotion. [pg.6.]

Equally, remember that all good stories come from somewhere, they have a ‘backstory’ the events that led up to the story you are telling you may now show any of this but you need to know it exists, particularly on a character level so that whatever you write for the character is true to that character's personality. [pg.7.]

Cinematography and Editing

The two most basic elements of film grammar are mise-en-scene and montage, the former means what happens within the frame and all the latter means how shows work against one another mise-en-scene deals with composition, framing,lighting,camera moves,colortone,staging, and the movement of the characters. [pg.8.]

Montage

Montage is concerned with shot duration and the continuity of discontinuity of form, movement,location,time and themes of shape and color. [pg.8.]

It is often more believable and therefore more exciting to watch an action happen in one shot; when we see for example, a piece of kung-fu action broken into lots of cuts, we begin to suspect the performance has been created in the edit and the performer can't actually do all the things we see on screen. [pg.11.]

Sound

It is clear that the use of sound within film transforms the medium, but it is the creative use of sound that provides the additional narrative element that not only supports a visual performance but provides a totally different take on the story. [pg.19.]

Types of Performance

We all need to keep observing real life and finding ways to incorporate it into an animation, even if we are creating imaginary characters so that there is always something real there. [pg.25.]

To create a performance that works, and is convincing, we need to be able to get inside the characters and understand his mutual process and, in the case of empathy, we have to look at our own experiences to find a way of connecting with what drives our character. Objectives If you can find your characters objectives in each scene and then take a look at how often he achieves them, you'll get a fair idea of what his emotional state is going to be throughout. [pg.33.]

Format,Genre, and Audience

Know your Audience

If we are to create a successful product that reaches our target audience, the first thing we must do is to understand our audiences. [pg.48.]

Audience demographics change across cultures and nationalities and across ages. [pg.49.]

Anime offers us a good illustration of how performances are suited to particular kind of narrative structure and audience. The traditions of Japanese animation stems largely from a graphic style to found within their comics-manga which is self has a much longer tradition. Anime has found particular favor in the west among the younger generation’s animation fans. The legacy can now be seen to be emerging within productions around the world. [pg.49.]

Characters and Personality Character Development

The importance of character development in performance-based animation cannot be overstated and it is clear that the nature of the character will shape the nature of the character performance. [pg.62.]

Know you Character Starting to consider your characters as having a personality will at least enable you to focus on them and through that you will begin to see what is underneath.[pg.70.]

Once you have a history for your characters, you might wish to look at more details of his personality what is his temperament like? [pg.71.]

The first thing an audience experiences of any character is its physical presence. The physicality of a character has a major impact not only how the character moves and behaves but also on its subsequent performance. [pg.73.]

Principles of Performance

As an animator or director, you are trying to tell a story, but the story does not exist independently of the people in it. [pg.90.]

What are you trying to say?

Before we can get to the point of creating a great performance, we need to understand our characters, but before we can get to that point we need to first know what are you trying to say with them?[pg.97.]

Props Props

can also be helpful in the staging of a scene, giving the character a reason to move around a room. [pg.100]

Props may often be an obvious adjunct to body language.[pg.100.]

Character interaction One obvious aspect of this communication is proximity, this distance characters are from each other. [pg.112.]

It is important to really feel what you are animating, to get inside the emotional core of the action. [pg.123.]

Scene Composition

The way in which a film narrative is devised and constructed, the manner in which is divided and structured into separate sequences and scenes.[pg.139.]

It is the way in which a scene is composed; how its lit from angle it is shot, the nature of the shot, the cinematography that are critical in the telling of the story and the acting. [p140.]

Planning a Scene Good planning through storyboard, animatic, and layouts ensures that this happens. [pg.141.]

Blocking Out Animation and Action

It is important for the composition of the scene where the characters are positioned throughout the shot in such a manner that the audience is directed towards the action. [pg.159.]

Scene Dynamics and Screen Space

The way in which the scene is performed is to a large degree determined by the choice of shot and how it is presented on screen, from angle it is seen from and what distance it appears to be from the camera. This not only determines the way a story is being told but can change completely the story itself. [pg.163.]

My Thoughts

From this book, I have been made aware of the many areas of storytelling and animation that is crucial to making a truly engaging and compelling film. The book has covered areas from different styles of creative approaches to animation, types of performance, character and story development. I have highlighted and abstracted different points the book covers in these areas and have taken away a good source of understanding the film/animation process. Planning out your scenes, blocking out animation and action and the principles of performances - what are you trying to say? These chapters within the book have enhanced my learning. To think and consider the possible factors before I begin my shooting process. Planning out my scene is vital, especially within stop-motion, to guide my actions, to know what I want to achieve from one particular scene to the next. Blocking out the action, so that I can visually see if an action is going to be achievable given the space that I am working in, and if the cinematography and composition of my shot/camera will showcase the action in the best way, and fundamentally, what am I trying to say?

All through this process, this is a key question to keep in mind and while I'm shooting to. What do I want to say? - I want to tell the story of triumph and victory, to be brave, and strong in the face of adversity, whatever situation you are brought in, in life you can get through it. And this is what I want to say. This then feeds directly into how my characters perform and interact with one another, and this is how I will show what I want to say. For my own animation, I believe there maybe a combined element of each of the creative approaches to animation. My film is based around a fight sequence, in the style of martial arts, I wish to achieve naturalistic animation that is believable and engaging, so that the viewers believe that these characters are actually fighting, and thus falls which falls under simulation. Although, again my film also has elements of representation animation, I wish to use the Japanses mythical demon spirit of a Yokai. Representational animation creates the possibility to visual show this and create a believable identity, of something that is not real. And lastly, interpretation animation, my film will be my interpretation of a fight that is based off martial arts that have existed for hundreds of years. My film will also been shown as a ‘moving manga’ and therefore will again be my own representation of what a manga/comic is and how it can look through a moving image. The upside of a self-penned script can be the filmmaker’s real engagement with the material and a thorough knowledge of the situation and characters. The downside can often be that, having come from the visual side of the process, the filmmaker may be too interested in working with a new animation technique or doing something visually stunning or wildly experimental.[pg.6.] This abstract from the book has flagged up for me to be aware of my own creative practice. I have written the script for my film, and have a strong visualized idea of what the characters and the world would look like. I am very much engaged with this part of the filmmaking process, and I am very keen to show a certain style/mood for this film. I am aware however focusing too much on these elements, could possibly take me away from the actual learning techniques to achieve visually pleasing animation. Although this abstract has helped me to be aware of this and not to let one element of the filmmaking process take up too much time, I need to be able to split my time, attention and focus between the two to achieve the film I wish to create. Overall, I feel this book has been one that has stood out and enhanced my learning. It has brought me to another level of creative thinking, its emphasis on how story is king, to hone and focus on your story, your message, and how you want to show this, has enabled me to really focus on my films heart, its message, its story, which then directly feeds into the world I want to create and that shape in which my characters perform and live in.

Japanese Animation from Painted Scrolls to Pokemon - Google Search. https://www.google.com/search?q=japanese+animation+from+painted+scrolls+to+pokemon&sxsrf=ACYBGNTXiDt6pz9SVAeAGtvYG8P3wCq1og:1572377179828&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjSroa6mcLlAhWHasAKHet9DrMQ_AUIFSgE&biw=1920&bih=920#imgrc=6m8zPXbgj5EhIM: Accessed 29 Oct. 2019. Stop-Motion Mervyn Ternan - Google Search. https://www.google.com/search?biw=1920&bih=920&tbm=isch&sxsrf=ACYBGNTgTkcRJQ2SZbWca18ZgEvo8fm04w%3A1572377328748&sa=1&ei=8JK4XcmoLYjzgAbR7afwBA&q=stop-motion+mervyn+ternan&oq=stop-motion+mervyn+ternan&gs_l=img.3...9716.10641..10856...0.0..0.63.380.7......0....1..gws-wiz-img.oHmAodoi9Ys&ved=0ahUKEwjJ4IeBmsLlAhWIOcAKHdH2CU4Q4dUDCAc&uact=5#imgrc=LIFOiMgssuwZyM: Accessed 29 Oct. 2019. Barry Purves Basic Stop Motion - Google Search. https://www.google.com/search?q=barry+purves+basic+stop+motion&sxsrf=ACYBGNRQd576N6QSOHaQQ4i7cAITRXMKBA:1572377279761&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjg79npmcLlAhUOQ8AKHa_QDTMQ_AUIEygC&biw=1920&bih=920#imgrc=g5JlbxKZZhqTfM: Accessed 29 Oct. 2019. The Advanced Art Of Stop Motion-Animation Ken A.Priebe - Google Search. https://www.google.com/search?q=The+Advanced+Art+Of+Stop+Motion-Animation+Ken+A.Priebe&sxsrf=ACYBGNQH3-TeodAiq1gpNaHCTCUZd27VzQ:1572376537244&source=lnms&tbm=isch&sa=X&ved=0ahUKEwipnNKHl8LlAhXFiFwKHXxAAB8Q_AUIEigB&biw=1920&bih=969#imgrc=-K6QLCPZo9npgM: Accessed 29 Oct. 2019.

Richard-Koyama, B. (2015) Japanese Animation from painted scrolls to Pokémon, England: Flammarion-Pere Castor

Classical Painted scrolls listed as ‘national treasures’ E.G ‘Monsters and Yokai – a painted scroll parading one hundred demons.

The supernatural/magic the inexplicable fascinates us. Yokai is a kind of supernatural being that has various guises/uncontrollable, terrifying or friendly phenomena.

Metamorphosed objects – People believed that once objects reach its hundredth year it would turn into a ‘yokai.’

Scrolls to be unrolled piece by piece and admired. Painted scrolls are a way of telling a story from a different angle.

Birds eye view/ landscape/ revelling the scene within a technique known as ‘fukinuki yatai.’

Artist Kawanabe Kyosai – was fascinated by drawing skeletons.

My Thoughts

This book has been incredibly influential for me. Reading and abstracting information has inspired me to think bigger and explore my initial ideas further. I have been able to learn about Japanese culture and history through storytelling. This has informed me about the origins of storytelling through scroll form, unravelled piece by piece (very much like film, scene by scene) to elements added to their stories that bring about a mystical/fantasy element such a ‘Yokai'. Influenced by the idea of a ‘Yokai’ and the Japanese’s artist Kawanabe Kyosai and his love for drawing skeletons I believe I could touch upon this and incorporate both elements. I have been inspired to think about what conflict I could create within the narrative using a 'Yokai' and what form this 'Yokai' it could take. Could the yokai look like a human and a skeleton? How could I achieve this? This book has also given me insight to the possibilities that I can have with creating my own ‘yokai’ and how it will best be represented.

M. Ternan. (2003) Stop motion animation Animation. Apple Press

1) - Easing in and easing out One of the most fundamental principles for animation E.G – waving, start off with small movements, progressing to larger movements as arm goes up, and ending the wave with shorter movements again.

2) – Anticipation Mistake of having everything continuously moving in every frame. Our own movement is often full of pauses. E.G. Sneezing – hold the pre sneeze position for a couple of seconds around 60 frames.

3) Staging How easy it is to see what is going on in the picture testing a shot as if the subject was a silhouette image.

4) Timing Linked with weight in animation.

5) Arching The path in which objects move along/ straight line, walking/head bobbing/dog tail wagging.

A multi-function set A good idea to build a set where you can dismantle the walls, so that you can rotate the set to face the camera. Instead of moving your camera around the set to get your different angles.

My Thoughts

Although there is an abundance of knowledge throughout this book, being made aware of the five key elements to producing stop-motion is hugely beneficial to me. Understanding that each point highlighted contributes to engaging and compelling animation.

Another idea that stood out to me is building a set where you can dismantled the walls in order to achieve different angles without having to move your camera. This is something that I will test out, seeing as my production will consist of various angles, and having to move the camera around the set is a big risk, lights may move, characters and props may fall. So to eliminate the risk, I will be doing test animation, with removable walls to see how effective and efficient it can be when I come to shoot my production.

Purves, B. (2010) Basic Animation Stop Motion. 04. AVA Publishing

‘What people like about stop-motion animation is that it’s real. It’s like a magic trick taking real things, real sets and making them come to life with movement.' - Joe Clokey pg.44.

First, have a definite, clear practical ideal; a goal, an objective. Second, have the necessary means to achieve your ends; wisdom, money, materials and methods. Third, adjust all your means to that end. – Aristotle pg.52.

'There's just something visceral about moving a puppet frame by frame. There is a magical quality about it'. - Tim Burton pg.82.

Our animation is all about illusion not accurate reproduction. Details also help provide the viewer with additional information about scale and figures and sets. Giving the characters a history and personality, locating them in the world. Small, well- thought out details can also make repeated viewings enjoyable.

At the start of any project, there must be a desire to tell a story, to suggest an idea or to show something from a fresh perspective.

Tips: Aristotle’s three unities:

• The unity of action dictates that a play should follow the main action and that subplots should be avoided.

• The unity of place says that the action should be set in a single physical space and should not attempt to compress geography, the stage should not represent more than space.

• The unity of times says action in a play should take place over no more than 24 hours.

A good way to test if your idea might revel in the artificiality of animation is to ask ‘could this story be told better in live action?’

Approaching the story: The most important ‘rule’ in any form of storytelling is that you must keep your audience interested in your character and situations.

• Fast pacing

• Contrasting rhythms and increasing tension

• Exciting plots full of moments of peripeteia ( a sudden change in circumstances)

• An unfolding mystery or constant revelations about the characters.

• An escalating series of spectacle and effects.

There has to be a reason for using animation, other than the indulgent joy of being directly responsible for bringing things to life or creating strange environments. Animation has to add something to your film, the live action and a few special effects cannot . Surely, the point of animation is to say things, or to point out ideas, that cannot be expressed in our everyday lives.

Does the main character in your film have an interesting way of revealing their inner thoughts quite naturally, rather than just saying what you feel?

My Thoughts

While extracting information from this book I have been able to appreciate the beauty in the small details of stop-motion. The world and characters that I create must be organic, seeming like they have always co-existed together. This books has highlighted animation and its craft, challenging questions that push me to think of my film as much more than that – it’s an art form, its experimentation, expression, a statement. The quotes that I have included at the top, are the ones that have stood out to me while reading this book.

The quotes reflect and highlight the magic of stop-motion and why we find them so engaging. They have inspired me to take on this production with confidence, to create a piece of art that inspires the mind and heart of others and myself. But to also be aware of the potential issues and the challenge that comes with making a stop-motion production.

I have used Aristotle quote as it is a practical approach to working within stop-motion. My idea/goal (create a stop motion) second, to have the means to achieve my goal (utilises the resources, materials and people that I have around me to achieve this) And thirdly, adjust, adapt, change, overcome, plan, be resourceful in order to eradicate any potential problems or issue that could holt my production.

I have also highlighted Aristotle intent, although these theatrical rules are from the 16th century. They have been a useful guide in terms of thinking about my production. The three unities resonate with me as point one highlights that the film should just follow one course of action, and not divide off into different subplots. Which for me as a first time stop-motion animator, I believe is my best bet at achieving a more convincing story and action, giving time constraints, characters and locations that I have. Point two suggests keeping within one location, as not to overcrowd the film and lead audiences on too much of an adventure. Again this is relevant to me and my film, as it is based around a fight sequence, all the action is happening in one location. And the third point, again my fight sequence is set at low dusk/evening time. All the action that is going to happen within this film will be resolved in less than 24hours.

Applying my film to the three unities gives me confidence to know what I'm going to be able to create a film, my narrative is short and within one location. And that I am not going to overwhelm the audience and myself with too much information, that could be hard to follow or connect with.

I have been introduced to different ways of approaching stop motion and the production. Some animators set key positions first and then fill in the rest. Alternatively, the linear method of shooting from the beginning frame and finishing with the last. Being made aware of this, I believe I should approach my production using the linear method. This will be my first stop-motion production/film and seeing the performance naturally, evolve will be easier for me to track how the whole production/performance is going.

Through reading this book, it has asked the reader to challenge themselves and how they view stop-motion. Another abstract that stood out to me was ‘could this story be told better in live action?’ Again, this is another important idea for my to consider as a film-maker/story-teller. Is my story and its characters appropriate for stop-motion? I believe so, yes. As I have fantasy elements that I can only really recreate by making that world myself. The idea of a man, transiting throughout the film from man to yokai, fighting a women in a martial arts style, set in a horror/creepy woods. If I were to do it live action, yes the fight scenes could transfer well to live action. But everything else surrounding it, the characters, their environment, the challenge of SFX make-up for the ‘yoka’ would be difficult to recreate and represent in realistic setting that stop-motion will be able to embody.

Again this is highlighting that animation has the potential to create/say something that live action cannot. Another ‘rule’ abstracted is that you need to keep your audience engaged with the characters. I know that this is one of the most important elements within storytelling. Reflecting on the early stages of character development for my story and production, I have two main characters (although there are three characters in total) both who will be fighting one another, one a woman, another a ‘Yokai’. The interest would be the fight itself, but if the audience cannot connect with them, the story will fall off. So I need to keep in mind, that I need to create compelling characters that really embody their world and the situation that they are placed within.

Priebe, Ken A. The Advanced Art of Stop-Motion Animation. Course Technology Cengage Learining, 2011.

The Advanced Art Of Stop Motion-Animation Ken A.Priebe

Chapter 1: History of Stop-Motion Feature Films

In 2005, two features, Wallce and Gromit: The Curse of the Were-Rabbit and Tim Burton’s Corpse Bride were brought to the screen within two weeks of each other. [pg.3.]

Also having equally strong voice in 2009 was an unprecedented run of five stop-motion features to be released, each different in style, technique and distribution. The two mainstream releases were Henry Selick’s Coraline and Wes Anderson’s Fantastic Mr. Fox, each appealing to family audiences. [pg.3.]

The history of the puppet feature begins with the pioneering puppet animator from Russia Ladislas Starewitch. [pg.5.]

The Book refers to film ‘The cameraman's Revenge’ (Watched and reviewed in Film and Animation section)

Mad Monster Party - an inspiration for many stop-motion artists, including Henry Selick and Tim Burton. [pg.17.] (Watched and reviewed in Film and Animation section)

Mary and Max opened the Sundance Film Festival in 2009, which was the first for both Australia and feature animation, and really helped to push the animation medium to a higher level of acceptance by the film industry. [pg.55.]

Chapter 3: Building Puppets

Design your puppets based on what us required of it, in terms of its character and its movements. [pg.77.]

One way to create a wire armature that hopefully will last longer i to design it with sockets that allow you to remove and replace certain body parts if and when they break. [pg.77]

Chapter 4: Digital Cinematography

Stop-motion photography is not just one image, but rather a series of images that create motion when strung together. [pg.151.]

Shooting stop-motion relies on having the following thing a story to tell, puppets to tell that story with, and a camera to be the eyepiece for that story. [pg.151.]

ISO If you are shooting a dark scene for your stop-motion project, increasing the ISO will increase the sensitivity to light and allow for a slower shutter speed. However, it will also create more digital noise. [pg 159.]

A lower ISO setting combined of a shorter shutter speed will typically create less digital noise. [pg.159.]

Aperture and Shutter Speed Wide aperture (lower f-stop number) = more light = faster shutter speed. Small aperture (higher f-stop number) = less light = slower shutter speed. [pg.159.]

Camera Effects Most importantly, how you shoot your film and what kind of effects you create are determined by your story. Change in focus, lighting, composition, or movement by the camera should happen because the story dictates them, not because of the technical ‘wow’ factor behind it. The filmmaking, in essence, should become transparent so that your audience becomes invested in the story and the characters. [pg 165.]

Chapter 7: Character Animation

A general rule when it comes to timing straight ahead is to decide which poses the audience really need to see [pg.206.]

Which parts of any particular action or performance are the most important parts that the audience should not miss? [pg.206.]

There should be some planning and rhythm to these movements - some close together, some far apart, and, when appropriate, grinding to a halt, not moving at all, and settling into a hold. [pg.206.]

If a character moves into a hold, it can probably only do so for a maximum of 2 or 3 seconds before it loses its breath of life. At the very least, a hold this long or longer should be broken up by a blink or a subtle secondary movement to keep it alive. For instance, if a character turns its head to look at something and holds before reacting to what it sees, holding for six to eight frames would be a very quick glance, and holding for 16 to 24 frames would be a more intent look. A longer hold would indicate a slower reaction and denser character, where as a shorter hold would indicate an immediate reaction from a character who is more alert. [pg.207.]

Breaking up a puppets action within an eight frame hold here and a 12 frame hold there, and so on, is vital to good timing and ultimately a good performance. It is a more natural and lets the audience soak in the moments that are most important to the scene as a whole. [pg.207.]

It is also important to remember that starting any animation exercise with a minimum of eight frame hold at the beginning is vital to let the audiences eye acknowledge the character before he starts moving. [pg.207.]

Start moving your character on frame 9,13, or even 24. [pg.207.]

Holds are also your friend when you are animating a long sequence that has a lot of complicated movements. [pg.207.]

The other general rule to remember regarding holds is that they should always be a minimum of six frames. A six frame hold is still very short and is often used only for very quick glare or pauses in a character's thought process on screen. [pg.207.]

Arcs In a walk, there are even more elements to pay attention to in keeping the acrs consistent. The head and torso should be continually moving forward in each frame as well as up and down on an arc, and the arms should be swaying back and forth along an arc of their own. [pg.211.]

Overlapping Action Movements should be staggered by a few frames so that all elements of the character overlap with each other for a much more natural appearance. [pg.211]

The eyes essentially lead the head into its movement, preparing the audience for the action that takes place. [pg.213.]

When the head moves, it is very common for the brain to send a signal for the eyes to blink as it happens to help central the sensory overload that can occur when shifting the eyes whole perspective. [pg.214.]

The eyes are the closest thing to the brain, so they are the first parts of the body to receive that message from the brain that says ‘turn!’ The next part to receive it is the neck, followed by the shoulders, arms, and the hips. In the blink of an eye, the simple act of turning around is like a memo being sent from management to all floors below it. Animation needs to break this up, slow it down, and overlap the body parts getting this signal frame after frame. [pg.215.]

Performance All technical animation principles should be thought about, planned for, and injected into any animation sequence for it to move properly and read well for the audience. But even more important are the performance and acting choices made for the character. These choices made for the character have a direct impact on how the animation principles are used, because the way a character moves depends very much on who that character is. Its inner thoughts, attitude, and mood will affect how long you shoot your holds, how much easing in and out is needed, and the overall tempo of the animation. If the character is nervous, stressed, happy, or alert its movements should be faster and farther apart, which will require fewer frames to move the characters is sleepy, depressed, or dimwitted, its movements should be slower and close together, which will require more frames. [pg.216//217.]

Ask yourself things like:

Who is the character?

What kind of mood is he in?

What is he doing in the scene? And why is he doing it?

What happened right before this scene takes place?

Hows does the character feel about what is going on?

The most basic question to ask yourself throughout the whole process should be how would you behave if you were that character in that particular situation. [pg.217.]

Study Stop-Motion films, but also look closely at the acting choices made in hand drawn and computer animation films. [pg.218.]

Visual Effects

Online resources where you can find effects to composite into your own stop-motion films. [pg.265.] :

www.stopmotionmagazine.com

www.videocopilot.net.

www.detonationfilms.com

Rig and Shadow

Removal One of the most straightforward ways to remove a rig from your stop-motion frames is to simply to have a clean background plate prepared in addition to your animation frames. [pg.266.]

Refering to Ron Cole’s film ‘In the Fall of Gravity’ and creating motion blur; The effects of blending the frames to suggest a kind of look that isn't really there as a blur makes but makes the animation look smoother. Ron created at least three copies of each animation sequence; he then removed the first frame from the first copy, the first two frames from the second and the left the third as it is. The opacity was altered in each of the layers. [pg.270.]

My Thoughts

Reading through this book, I have been able to abstract information that I feel will be relevant to my learning about the history of stop-motion and its practice. Whilst reading through, I have found this book to be an important element to understanding the basics of stop-motion and how to bring your character to life in terms of performance.

One of the chapters overs character performances and I choose to take the questions asked and apply them to my own film;

Who is the character? - A young girl who is from a small town. She is a brave, and a protector of her town/family. The Yokai - A destructive force, who wants to create havoc and destroy peace.

What kind of mood is he in?

In the beginning the young girl is frightened, and alone, she has just found a dead body of someone who is clearly close to her. As the story progresses, we see her emotion change from fear to anger, then to triumph. The Yokai however is angry, and possessive, and quickly makes himself known to her, he is on the hunt to possess her soul.

What is he doing in the scene? And why is he doing it?

The young girl is mourning, next to the dead body. She has come out to defend her town/family from the attack that was happening on the outside of the town, within the wood. The Yokai is lurking in the back of the wood, waiting for the perfect moment to approach and attack again, his purpose to frighten and cause havoc to people living near his woods.

What happened right before this scene takes place?

Before the scene takes place, a Yokai had attacked a man that we see the young girl next to in the opening scene. She arrives to late, and the man is dead when she arrives. The scene opens with her sitting to the lifeless man, without knowing what had happened before. Applying these questions have enabled me to think about the mood, tone and performance that I wish to show through my story and characters.

The environment that the characters are reacting to are important elements to apply so that the audience can clearly gage how the characters feel about being their. Are they scared, tense, nervous? If so why? Showing this through character performance is essential to creating believable and engaging characters. While reading through the Character Animation section, I have been able to learn some valuable advice on holding frames, and being brave enough to use them. Especially when there is technical sequences, which my film will have because of the fight sequence. It has inspired me to try this out in my own practice, test how if it works for my animation, where it works and where not, and what squences would it be best applied to.

This section also covered some interesting points on frames, which I will be experimenting with while testing my animation such as, what frames to start action on, or how holding or decreasing frames will show different types of reactions. Points such as the eyes lead the head, and overlapping the animation are another important element to consider. The point covered in Camera Effects Most importantly, how you shoot your film and what kind of effects you create are determined by your story. Change in focus, lighting, composition, or movement by the camera should happen because the story dictates them, not because of the technical ‘wow’ factor behind it.

The filmmaking, in essence, should become transparent so that your audience becomes invested in the story and the characters. [pg 165.]

This point stood out to me as I am going to be experimenting with UV paint to visually represent the Yokai in my story. I will also be testing out achieving this through Claymation for his face, and seeing what works out best. The UV I can paint different shapes, and create a different identity for my character who will be under the influence from the Yokai. It will hopefully look like a ‘spirit’ within the character, which would be effective to show this character is acting under possession. The Claymation idea was just to simply change the face during the frames, during approaching the young girl to attack her in the beginning, but also through moments during the fight sequence. I was thinking I can add spikes, that stuck out from his face, and then transition back and forth between normal and spikes which showcase the demon spirit within him. The book has also suggested in its Chapter 3: Building Puppets, that an easy way to build puppets is to build them from wire, and create sockets in the apporites places, so that when the wire breaks, the arms, legs, neck, can be easily replaced, without having to build a new armutre each time. I have tested this myself, which you can see in my studio work section.

I have used this model, as it is simple to build and you can work with it easily enough. Although I have found that it for me, it is hard to get fluid movement, but is a great for testing with and cheap to build! For my actual production, I am hoping to use ball and socket armature. The brief points I took from the History of Stop-Motion was to highlight that Stop-motion is viewed with respect, and there is a demand for these types of films, and that audiences do enjoy watching them. It shows to me that there is still room for Stop-motion animation and viewers still very much engaged and want to see stories portrayed this way.

My video research/practice

I went to a local Martial Arts class in Norwich to film two paricpatints, both who were equally passionate and dedicated to the sport. Once I began filming, I wanted to act more as a ‘fly on the wall’ and capture the action as it happened, rathered then watch their performance first, and then film.

I preferred filming straight away as I wanted to see the fight unfold through the lens, and see what really caught my eye as it happened. I wanted to see the fight unfold through the lens, and see what really caught my eye as it happened. I felt this was important to help with my research report as I wanted to see how a fight could potentially be constructed and with un ‘unscripted’ element to it, I wanted to see what I points of interest I was naturally drawn to and how this is translated onto film.

Overall I felt it was very helpful for me to understand the effort and the detail that is needed in order to create a fight sequence. Also, the discipline that is needed for the fighters to learn and hone their skills. By making connect with this class, I have made a contact that will be helping me plan my own fight sequence, which is extremely helpful!

Internet Research

Corridor Crew (2019) Stuntmen React To Bad & Great Hollywood Stunts 6 (Accessed 22 Oct. 2019).

Haliburton, R. (2018) The Ethical Detective: Moral Philosophy and Detective Fiction, Lexington Books.

Juhany A, (2019) What is a Yokai. Available at https://japanobjects.com/features/yokai (Accessed:7 Nov. 2019).

Myers C, The Creepiest Japanese Monsters & Demons (and the Stories Behind Them) Available at: https://www.ranker.com/list/creepy-japanese-demons/christopher-myers Accessed 22 Oct. 2019.

NerdWriter1 (2015) Ghost In The Shell: Identity in Space. Available at: https://www.youtube.com/watch?v=gXTnl1FVFBw

Visual References

Crouching Tiger Hidden Dragon (2000). Directed by Ang Lee [Film]. Cannes. Sony Pictures.

Fullmetal Alchemist (2001). Japan:Square Enix

Inoue, T (1988) Vagabond . JAPAN: Weekly Morning

Kubo And The Two Strings (2016) Directed by Travis Knight [Film]. United States: Focus Features.

Oni (Demon). (1972) Director by Kihachirō Kawamoto [Film]. Japan.

Toriyama, A. (2013) Dragon Ball Z Saiyan Arc: Edition 1. Japan:Viz Media

Toriyama, A , (2015) Dragon Ball Super. Japan: Shueisha

Book Refernces

Glebas, Francis. Directing the Story: Professional Storytelling and Storyboarding Techniques for Live Action and Animation. Elsevier/Focal Press, 2009.

Foster, Michael Dylan, and Kijin Shinonome. The Book of Yokai: Mysterious Creatures of Japanese Folklore. University of California Press, 2015.

Hayes, Derek, and Chris Webster. Acting and Performance for Animation. Focal Press, Taylor & Francis Group, 2013.

Hooks, Ed. Acting for Animators. 2017./ Hooks, Ed. Acting for Animators: A Complete Guide to Performance Animation. Rev. ed, Heinemann, 2003.

M. Ternan. (2003) Stop motion animation Animation. Apple Press.

Priebe, Ken A. The Advanced Art of Stop-Motion Animation. Course Technology Cengage Learining, 2011.

Purves, B. (2010) Basic Animation Stop Motion. 04. AVA Publishing

Priebe, Ken A. The Advanced Art of Stop-Motion Animation. Course Technology Cengage Learining, 2011.