Problems in making animation shots.

Since the comic split-mirror version is finalized once it is completed and cannot be changed, we must pay attention to the craft in this process.

Setting of sight distance (before writing, the first thing to consider is the composition of the picture and the setting of sight distance)

Sight distance-animation is not only a work of art, but also a part of film art. Sight distance refers to the distance between the camera lens and the shooting object, and different sight distances produce different scenes. We generally divide the scenes into the following categories.

1, the wide field of vision-broad and far-reaching-is mainly used to show the lens of the vast sea, rolling mountains, starry sky, atmosphere or the introduction of the big environment, and generally rarely shows the activities of characters in it.

2. Vision-still mainly expressing the atmosphere of natural scenery or lens pictures-action is only used as a foil to set off the atmosphere.

3. Panorama-a commonly used expressive scene-is used to represent the whole body or the whole scene of a character. Panorama is widely used in the frame of the picture, and the whole character appears in the picture.

4. Mid shot-shows a picture of more than half of a person's body or a few people's local scenes above the knee, so that the audience can see clearly the dress, appearance, demeanor and body movements of the upper body of the character. It is also used to express interpersonal communication and emotional expression, and it is also widely used in comics.

5. Close-up —— Representing the objects above or part of the character's chest, which has a feeling of making the audience close to people, and can clearly see the facial expressions of the character's emotions, mouth changes and local gestures when speaking.

6, close-up-the head or body details above the shoulders of the characters, mainly used to depict the subtle changes such as the expression, mouth shape, line of sight, eyes, sweating, etc. when the characters speak. . . . . .

7. Close-up-

Representing a certain part of a character's face, it is generally used in emergencies, leaving a strong impression on the audience, such as frightened eyes, sad tears and loud shouting. Pulling is a shooting method in which the camera gradually moves away from the subject, or the focal length of the lens is changed, so that the picture is pulled away from the subject from near and far. The TV picture taken in this way is called zoom.

1, the picture characteristics of the zoom lens 1. The zoom lens forms a visual backward effect 2. The zoom lens makes the subject from large to small, and the surrounding environment from small to large.

2. The function and expressive force of zoom lens. First, the zoom lens is beneficial to the expression of the subject and the relationship between the subject and the environment. Second, the framing range and performance space of the zoom lens picture are constantly expanding from small to large, which makes the picture composition form the change of multiple structures. Thirdly, shot-pulling is a kind of picture form with vertical spatial variation, which can form contrast, contrast or metaphor in vertical space and vertical orientation through picture images. Fourth, some shots start from a part where it is difficult to infer the overall image, which is conducive to mobilizing the audience's imagination and speculation that the overall image gradually appears until it presents a complete image. Fifth, the scene changes continuously in a shot, which keeps the integrity and coherence of the picture performance space. Sixth, the internal rhythm of pulling the lens is from tight to loose. Compared with pushing the lens, it can give full play to the emotional aftertaste and produce many subtle feelings. Seventh, pull shots are often used as conclusive and conclusive shots. Eighth, use the pull lens as the transition lens.

3. Pull-shot shooting and its requirements Pull-shot shooting and push-shot shooting are in opposite directions, but their creative rules and general requirements are basically the same. The difference is that the left picture should be the focus of the shot, and the starting frame should be the core of the shot. Mobile photography is a kind of photography in which a camera is mounted on a moving object and moves with it. The TV picture taken by a mobile camera is called a mobile lens, which is referred to as a mobile lens for short.

1, the picture characteristics of the moving lens First of all, the motion of the camera makes the picture always in motion, and the objects in the picture will show a trend of constantly moving positions whether in motion or at rest. Second, the movement of the camera directly mobilized the audience's visual experience in daily life, aroused people's visual experience in various means of transportation and walking, and made the audience feel immersive. Thirdly, the picture space represented by the moving lens is complete and coherent. The lens keeps moving, changing the audience's perspective at all times, forming a multi-scene and multi-composition modeling effect in one lens, which plays a role similar to montage, and finally makes the lens have its own rhythm.

2. The function and expressive force of the moving lens First of all, the moving lens opens the modeling space of the picture through the movement of the lens, creating a unique visual artistic effect. Second, the moving lens has a magnificent modeling effect when it represents large scenes, large depths, multi-scenes and multi-level complex scenes. Thirdly, mobile phone photography can show a certain subjective tendency, and a more natural and vivid sense of reality and scene can be shown through the lens with strong subjective color. Fourthly, the mobile phone camera can get rid of fixed-point shooting and form a variety of viewpoints, which can show the visual effects under various sports conditions.

3. Shooting points of moving lens There are two shooting methods of moving camera, one is to place the camera on various moving objects; One is that the photographer carries the camera on his shoulder and shoots through the movement of the human body. Both shooting forms should strive to maintain the stability and level of the picture. Try to use the lens with the widest viewing angle among the camera zoom lenses when actually shooting. Because the wider the lens angle of view, the more obvious its features, and the picture is easy to remain stable. Follow-up shooting means that the camera always follows the moving subject. Television pictures taken in this way are called follow-up shots.

1, the characteristics of the follow-up lens: First, the picture always follows a moving subject; Secondly, the position of the main body in the frame is relatively stable; Thirdly, the follow-up lens is different from the push lens whose lens position moves forward, and it is also different from the forward moving lens whose lens position moves forward.

2. The role of the follow-up lens First of all, the follow-up lens can show the subject in motion continuously and in detail, which can not only highlight the subject, but also explain its direction, speed, posture and its relationship with the environment. Second, the follow-up lens moves with the subject, forming a modeling effect with the moving subject unchanged and the static background changing, which is conducive to drawing out the environment through the characters. Third, follow the camera behind the characters. Because the audience and the subject have the same viewpoint, they can show a subjective shot. Fourth, following the camera to record people, events and scenes is of great documentary significance in the shooting of documentary programs and news.

3. Problems that should be paid attention to when shooting with a camera. First, keeping up with and catching up with the subject is the basic requirement for shooting with a camera. Secondly, following the camera is a way to shoot by moving the camera position. A series of shooting problems brought by camera movement, such as the change of focal length, shooting angle and incident angle of light, are also problems that need to be considered and paid attention to when shooting with the help of the movable chassis on the tripod or the photographer himself when the camera position is fixed. Television pictures taken by panning are called panning.

1, the picture characteristics of the panning lens First of all, the panning lens is like the visual effect of people turning their heads and looking around or moving their eyes from one point to another. 2. A complete shake shot includes three interrelated parts: framing, shaking and left picture. Third, the moving process of a shaking lens from the beginning to the left picture forces the audience to constantly adjust their visual attention.

2. The function and expressive force of shaking the lens first, the exhibition space is expanded; Second, it is beneficial to contain more visual information through small scenes; Third, we can introduce and explain the internal relationship between the two subjects in the same scene; Fourthly, it uses two subjects with opposite or similar nature and meaning to connect them by shaking the lens to express some metaphor, contrast, juxtaposition and causality; Fifth, when expressing the connection between three or more subjects, when the lens shakes, it slows down or pauses to form intermittent shaking. Sixth, after a stable picture is started, all the images in the picture are blurred by extremely fast shaking speed to form a swing shot with special expressive force. Seventh, it is convenient to display the dynamics, dynamics, movement direction and trajectory of the moving subject. Eighth, a group of identical or similar screen subjects appear one by one by shaking. A cumulative effect can be formed. Ninth, you can shake an unexpected image with a panning lens to create suspense and form the ups and downs of visual attention in a lens. Tenth, you can show a subjective lens with a panning lens. Eleventh, you can use a non-horizontal tilting shake and rotating shake to express a specific mood and atmosphere. Twelfth, translation is also one of the effective methods of picture transition.

3. Requirements for shooting a panning lens First of all, a panning lens must have a clear purpose. Second, the translation speed will cause subtle changes in the audience's visual perception. Third, the panning lens should emphasize the integrity and harmony of the whole shaking process. With the help of the lifting device, the camera takes pictures while lifting, which is called lifting shooting. Pictures taken in this way are called lifting lenses.

1, the picture modeling characteristics of the lifting lens First of all, the lifting movement of the lifting lens brings about the expansion and contraction of the picture field of vision. Second, the changing angle of view of the lifting lens has formed a multi-angle and multi-directional multi-composition effect.

2. The role and expressive force of the lifting lens First of all, the lifting lens is conducive to showing all parts of tall objects; Secondly, the lifting lens is conducive to showing the relationship between points and surfaces in the deep air; Thirdly, the lifting lens is often used to express the scale, momentum and atmosphere of an event or scene; Fourth, the content in the lens can be transformed and arranged by lifting the lens; Fifth, the lifting movement of the lifting lens can show the change of emotional state in the picture content. Push the camera in the direction of the subject, or change the focal length of the lens to move the picture frame from a distance. Moving pictures shot in this way are called push shots.

The push lens has the following characteristics:

1, the picture characteristics of the push lens: First, the push lens forms the visual forward effect; Second, the push lens has a clear subject goal; Third, push the lens to make the main body from small to large, and the surrounding environment from large to small.

2. Push the function and expressive force of the shot first, highlight the main characters, highlight the key images second, highlight the details, highlight the important plot factors third, introduce the relationship between the whole and the part, the objective environment and the main characters in a shot. Fourthly, the scene of a shot is constantly changing in a shot, which has the function of a continuous and progressive montage sentence. Fifth, the speed of the lens can affect and adjust the rhythm of the picture, thus producing an external emotional force. Sixth, the lens can express a specific theme and significance by highlighting an important drama element. Seventh, the lens can strengthen or weaken the movement of the subject.

3. Push-shot shooting and problems that should be paid attention to First of all, the lens moving forward formed by push-shot is a change and adjustment to the audience's visual space, and the scene from big to small is both a change and a guide to the audience's visual space. Pushing the lens should have its clear performance significance. In the three links of framing, advancing and left picture, the picture of left picture is the focus of modeling performance. Second, the framing of the lens and the left picture are static structures, so the picture composition should be standardized, rigorous and complete. Third, in the process of pushing the lens, the composition should always pay attention to maintaining the position of the subject in the center of the picture structure. Fourth, the speed of pushing the camera should be consistent with the mood and rhythm in the picture. Fifth, the focus of a mobile phone camera should change with the distance between the camera and the subject.

Seven. Comprehensive motion lens A comprehensive motion camera refers to a camera that organically combines various motion camera modes such as pushing, pulling, shaking, moving, following and lifting in one lens to varying degrees. Television pictures shot in this way are called comprehensive motion shots.

1, the characteristics of the integrated motion camera 1. The integrated motion of the integrated motion lens produces more complex and changeable picture modeling effects. Second, the TV picture formed by the overall movement of the lens is the result of multi-directional and multi-mode movement.

2. The function and expressive force of integrated motion lens First of all, integrated motion lens is conducive to recording and expressing a relatively complete plot in a scene in one lens; Secondly, comprehensive motion lens is a powerful means to form the formal beauty of TV picture modeling; Thirdly, integrating the continuous dynamics of moving shots is beneficial to reproduce the flow of real life; Fourthly, the integrated motion lens is beneficial to form the ambiguity of expression through the diversity of picture structure; Fifth, the integrated motion lens can keep consistent with the melody change of music in a long continuous picture.

3. The shooting of comprehensive action lens. First, in addition to the special requirements of special emotions on the picture, the movement of the lens should remain stable. Second, every transformation of the lens action should be consistent with the action and direction of the characters, and with the transformation of the plot center and emotional development, the perfect combination of off-screen changes and in-screen changes is formed. Third, pay attention to the change of focus when the camera moves, and always deal with the shape of the subject within the depth of field. Fourth, the cameraman is required to cooperate tacitly, coordinate his actions and keep pace. Empty lens is also called "scenery lens". A scene in which no characters (mainly those related to the plot) describe natural scenery or scenes. It is often used to introduce the environmental background, explain the time and space, express the feelings of characters, promote the development of stories and express the author's attitude. It has the functions of explanation, suggestion, symbol and metaphor. In the film, it can produce artistic effects such as lyricism, scene blending, artistic conception rendering, atmosphere contrast and association. , but also has a unique role in the time-space transformation of the picture and the adjustment of the film rhythm. There are two kinds of aerial photography: scenery photography and physical photography. The former is generally called landscape shooting, and it is mostly represented by panorama or perspective. The latter, also known as "detail description", generally adopts close-up or close-up. The use of empty lens is not only a simple description of scenery, but also an important means for film creators to combine lyric techniques with narrative techniques to strengthen the artistic expression of films.

About the trend (speed)

The trend is the push-pull direction. The direction of push-pull is determined by the relationship between the size of the focus and the direction of motion of the object. From the surface to the focus center, naturally push the lens to highlight the main body; From point to surface, by pulling the lens, the environment and other related factors are displayed. When the subject is moving, generally speaking, the push and pull of the focal length is basically consistent with the direction of the subject's movement. On the contrary, it will produce a special reverse motion effect.

Dynamic speed is push-pull speed. In the process of zooming, the starting and ending speed should be slow and even, especially when the picture changes from static to moving, it must be slow, then slowly accelerate, and finally from fast to slow, and then to static. Only in this way can the picture be natural and the composition be stable. 1. Strengthen conflicting splitting mirrors.

Such a scene is preferably a combination of two opposing shots. The distant view jumps to the close range, the close range jumps to the distant view, 180 degree jump, slow motion follows fast motion, fast motion follows slow motion, and loud voice follows loud voice ... For example, I once split the camera: an agent and a prisoner were sitting opposite the table in the interrogation room, and suddenly the prisoner grabbed the agent's hand and raised a cigarette to poke it dry.

Palm of a member

1) close-up, the agent pulls the back. The back of the agent who pulled him back from the front desk slowly moved sideways. When he saw the prisoner smoking and smiling at the agent, the machine continued to move slowly and suddenly the prisoner stood up.

Contact agent

2) Close-up. The machine follows the prisoner's hand to pull the agent's hand ... 3) Close-up. The frightened expression on the waiter's face. ... 4) Overlooking the distant view. The agent's hand was pulled to the table by the prisoner, and the other hand with the cigarette was held high and inserted into the agent's back. ... 5) Close-up of the facade. The agent's palm was inserted by a cigarette, and a flaming cigarette end came out.

Another example: in a foggy forest, a knife cut off a head. ... 1). A knife waved in the dignified fog, only to see the fog affected by the knife constantly churning, and the camera stayed until the whole fog was completely still again. (About five seconds) ... 2) Close-up. On the front, a knife quickly cut off the head.

2. Lens for brewing atmosphere.

Many academic scholars believe that as long as there is a big shot or a long tracking shot, the director's story can't go on ... this is a very inexplicable statement ... just like me.

Emphasize that the design is mainly drama. If the drama reaches this point, a big ups and downs will increase the drama effect, and it may even make the audience mention their first impression of the film many years later.

If it's this shot, wouldn't it be a good deal? In short, if the large lifting lens is designed properly, it will have the effect of making the finishing point; If not properly designed, the lens will be like a wandering soul.

3. Motion shots with scene scheduling.

At present, the most classic example is the album Norman Landing. I believe that the director and photographer must spend a lot of time communicating, which also gives us an important concept. When shooting, the director and photographer must communicate from two people to one person, so that the lens and the actor can be integrated. Generally, several theme characters often appear in a group play in just a few tens of seconds.

The function of moving lens is to connect each object in series by moving and aiming at a single lens. For example, a group of students are getting together for a graduation trip. The students are chatting and playing in groups ... The camera starts with Ban Wei walking and shouting with a stack of schedules. The machine and monitor went to a group of leading students, handed out the itinerary, and then left for the backstage.

Immediately, the machine waved back with a student of the leading group and ran to a rich boy who had just been sent by limousine. The machine walks and chats with two people. At this time, the monitor appeared again and handed travel itinerary to the rich boy. Two men appeared and the machine stopped on Bandai. The teacher's prospect appeared: "Get on the bus! Immediately after the appearance, the backstage monitor immediately shouted: "Get on the bus! Get in the car! "Many students get on the bus through the foreground or background of the monitor, and the machine follows a group of people passing in front of the monitor, but the machine just shakes and can't get on the bus. Until the people who followed them reached the window, they opened the dark window and heard a classmate shouting outside the car, so they reached for the classmate's bag outside the car. The machine followed the camera line of the bag and followed the classmates outside the car to get on the bus. Before getting on the bus, they took one from the monitor standing in front of the car and sent it to travel itinerary. ... in short, when designing this kind of lens, it is best to make the scene clear before designing the seat, otherwise it will be very tired.

4. Hold the lens.

This kind of hand is the best when you want to create a floating anxiety and there may be a crisis at any time. But I think it's best not to shake it too deliberately, otherwise it will confuse the audience, but it will only be counterproductive.

What's more, I've seen some movies shot with a hand-held camera from beginning to end, which not only has the effect of floating unease, but also has another style of shooting. What they do is ... ignore the mirror. According to the number of times, first find out the protagonist of this scene, and then the camera moves with the protagonist's hand, and even the subtle trajectory occasionally follows the movements of the protagonist's hand. This is a documentary-like shooting method. The camera in hand follows the distant view, the mirror in the middle, and the close-up, which completely tests the photographer's sensitivity and skills in drama. When the lens is ok, check the picture and then decide to take more pictures of others' reactions. Simple and clean, with tension. Very advanced skills. But if the photographer is not strong enough, don't try ... it's easy to quarrel.

Above. I only wrote about my own experience. Please forgive me if there are any shortcomings or paranoia. In short, the long-term conclusion is that "drama" controls the emotions of the audience. The "split mirror" controls the audience's breathing.

Animation contains a lot of content, which is also a particularly difficult place to learn, because learning animation requires not only painting, but also film, such as acting, physics and so on. Animation is a new art form that combines art and science perfectly. Therefore, we should have enough enthusiasm in learning animation. You must love him to learn well. As an animator, we pursue not only exquisite skills, but also noble emotions! Only with a childlike innocence and snail-like spirit can we climb to the top of the pyramid of animation art.