How to handle storyboards well?

To create good animation works, it is necessary to accurately grasp the viewer's psychological and physiological rhythms. In daily life, our attention is constantly and naturally diverted as we are frequently and instinctively attracted to the activities around us. But this transfer does not always occur at the same speed. When one observes surrounding activities with a calm mind, the shift of attention occurs at a very leisurely and slow speed. (For example, in his spare time, sit on the lawn and feel the people and things around him) But if he is observing or personally participating in a very exciting and fast-changing activity, the pace of his reaction will be greatly accelerated. (For example, seeing a fast-moving car passing by a pregnant woman) This is the basis of the psychology of shot rhythm. Generally speaking, using fast cuts to express a quiet scene will cause an abrupt effect and make the audience feel that the beats are too fast. However, in scenes that excite the audience, speeding up the cuts can adapt to the fast pace required by the audience. psychology, thereby enhancing the appeal of cartoons to the audience. The form of rhythmic activities is related to various physiological processes - the beating of the heart, breathing, etc., and the basis of the rhythm of the animation shots is the intensity and speed of plot development, especially the intensity and speed of the characters' inner movements. The rhythm of split shots is the rhythm of shot assembly. Pudovkin, the former Soviet film director and theorist, once pointed out: "Rhythm depends on the relative length of each shot, and the speed of each rhythm is determined by the mood and content of the scene. Animation artists can only make the editing speed consistent with the content. Only by adapting to it can the speed change smoothly and the rhythm of the cartoon be clear. According to the development of the plot, how to choose and use different viewing distances such as panorama, mid-range, close-up and close-up in a scene or a group of shots, and be able to use them very appropriately. Achieving reasonable matching and making the audience feel very natural is an aspect that cannot be ignored in the director's rhythm design of the split shots. When the audience sees a shot, the first thing they perceive is the scene separation of the shots. When arranged and combined according to certain rules, the visual rhythm of the picture will change. The panoramic series of scenes (large vista, distant vista, large panorama, panorama) emphasize lyricism and freehand brushwork, and the picture emphasizes the expression of "moment", that is, the atmosphere of the picture. , with the environment as the main focus, characters as the supplement, and the composition focusing on painting. The animations "Landscape Love" and "Mu Flute" with traditional national meanings are both ink cartoons that use scenery as the main focus, express emotions through scenery, and express meaning. The panoramic series of scenes in the film account for more than three-quarters of the total number of scenes in the film, becoming the dominant scene, allowing us to experience the vastness and openness of Huai'an space, forming a slow rhythm, strong lyricism, and narrative in the entire cartoon. The animation rhythm style is weak. The close-up series (medium close-up, close-up, close-up, large close-up) emphasize the narrative and documentary nature, and the picture focuses on the expression of characters' actions, with the characters as the main focus, the background as the supplement, and the emphasis on angles. Usually, long shots and close shots are used interchangeably. The long shots help the audience understand the environment or feel the sublimation of a certain emotion. If it is a narrative animation, the close shot is used to explain the character's action process. In many cases, the relationship between the panorama and the close-up view is not widened, and there is a lack of big ups and downs. The audience's psychological response must be weak in narrative and slow in pace. As we all know, it takes more time to watch people and scenery in the distance than to watch people and scenery nearby. The action on a long shot may take longer, and the length of a close shot can be shorter than that of a long shot because it is easier for people to understand its content. It can be seen that the distance between shots will directly affect the picture. Regarding the duration, if close-ups are visually regarded as vibrations that highlight the key points of the cartoon experience, then panoramic views and distant views are not only considered to describe the environment and atmosphere, but they should also be regarded as pauses in the visual rhythm experience. The split shots of different scenes can also become a rhythmic form in the time structure of cartoons. The split shot rhythm is generated by connecting shots according to different length and amplitude relationships. It is an allocation work involving scale and shape. , a cartoon that mainly uses short shots and a cartoon that mainly uses long shots. The rhythms of the two are completely different. Switching from an extremely fast panning shot to a fixed close-up can produce a distinctive style. Exciting rhythmic effects. We don't see a shot in the same way from beginning to end. The perception of animated screen images does not come out of thin air. All the components of image movement produce rhythmic changes that are fast or slow, heavy or light, urgent or slow, near or far, large or small, bright or dark, virtual or real, and are visual organs. Prerequisites for reaction. The changing rhythm of visual movement corresponds to changes in gaze, searching, visiting, patrolling, tracking, ignoring, indifference, etc. Since the position from which the viewer views the event is fixed, the direction in which it is achieved is actually inconsistent with the direction of the camera angle, but the visual experience compensates for this difference. The price of this compensation is to speed up the rhythm of visual movement. Most of the shots shot at normal speed have different angles of view. After assembly, the animation becomes a shot motion with various angle changes. The audience does not need to react immediately. This not only mobilizes past experience, but also allows them to watch without moving. In the case of position, it accepts the changes in the split shots presented at different angles, directions and distances of the object image.

Therefore, generally speaking, cartoon clips that quickly connect shots shot from different angles, such as overhead shots, overhead shots, panning shots, and moving shots, and long shots, close shots, large panoramas, and close-ups, including fast The clips connected together by zooming in and out have a strong visual impact on the audience, and the visual rhythm of the viewing activity will be accelerated. On the contrary, with long shots or clips grouped together with similar shots, the visual rhythm of the viewing activity is relatively slowed down. The former is in the form of looking and following, while the latter is more in the form of gazing or patrolling. We are more relaxed and relaxed when viewing distant views, but tend to become nervous when viewing close-ups and close-ups. This is true under normal circumstances, but in special circumstances, such as if the direction of the close-up shot remains unchanged for a long time or there is no movement, the tension will also be reduced and the rhythm will slow down; the distant shots may switch quickly or the image changes abruptly, which may also make the viewing interaction tense. The pace quickens. The combination of different composition methods can become a rhythmic form in the time structure. The excessive proportion of non-neutral visual angles in a cartoon will inevitably form a relatively strong charm in terms of form and picture rhythm. Many shots with similar angles are connected together, and the picture feels easy to produce a balanced, stable and smooth rhythm. The constant repetition of shots also creates rhythm. Repeating shots means that certain important shots, such as close-ups of animated characters, scenes, props, and even certain lines of dialogue, are repeated many times throughout the film to deepen the audience's impression or create new understandings. This is important for The shaping of the rhythm of the cartoon is very beneficial. There is also a technique of repeated split shots, which is to deliberately use a series of similar shots to repeatedly shoot the same person, the same thing, and the same scene from different angles, scenes, and camera movements in order to deepen the audience's feeling for a certain animated character or to exaggerate a certain atmosphere. . Rhythm requires a continuity or the repetition or recurrence of a certain unit or units. The succession of this recurring unit is divided into groups or sections - like beats in a musical score. Changes in rhythm can come from the length of each beat, or from the length of the distance between beats. The longer the beat and the wider the distance between each beat, the more soothing, calm or peaceful the beat is. The shorter the beat and the smaller the distance between each beat, the more nervous, anxious or panicked. To use an analogy in music terms, the overall rhythm can be said to be the score or main melody of the entire film's rhythm, and the specific rhythm of each unit is a certain movement or a certain part. The overall rhythm governs these various specific rhythms, and the various specific rhythms merge into the overall rhythm. The more delicate and ingenious the specific rhythm processing is, the more exciting and rich the overall rhythm will be. If the specific rhythm is handled incorrectly, the integrity and rhythm of the overall rhythm will be destroyed. Grasping the overall rhythm is the key to the success or failure of animation rhythm processing. Here, it is the director who plays the decisive role. The director's grasp of the overall rhythm is reflected in the split-shot script.