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TUTORIALS | Cinematography tips

066 | 3D WORLD3D WORLD May 2006

The quality of your cinematography can make or break an animation. Brush upyour skills with this set of simple tips for framing, staging and editing shots

Cinematography

for 3D animators

TIPS & TRICKSTIPS & TRICKS

Our expertsthis issue

Corey RosenCorey Rosen is an actor, director,writer and visual effects artistliving in San Francisco. After11 years with ILM, he movedto The Orphanage, where hesoverseeing two internationalcreature-intensive projectswww.theorphanage.com

The problem every new animatorfaces: just how do you frame your shots?This collection of tips from leading

directors should help. Image from Annie

& Boo, directed by Johannes Weiland.

inematography isnt simply the art of placing

and moving the camera it involves framing and

editing shots to tell a story visually, express

a point of view, create a rhythm, and add

tension and atmosphere to a scene. An animation can be

made or broken by the quality of its cinematography, while

framing, editing and camera moves are all great tools to help

accentuate the action or amplify the storyline.

Even technically good and experienced animators are

often let down by their cinematography. The difference

between a professionally composed and edited film and an

unwatchable mess comes down to having paid attention to

a few simple rules. Here are three rules that aspiring virtual

cinematographers most commonly break. Rule 1: when going

from a wide to a close shot, keep your character on the same

side of the screen if he was on the left in the wide shot,

dont frame him on the right in the close shot. Rule 2: when

intercutting between two people, their glances must always

face in the opposite direction if the viewers are to feel that

theyre looking at one other. Dont make them look towards the

same side of the screen or theyll both appear to be looking in

the same direction. Rule 3: when a character moves between

shots, he should move in the same direction on screen in each

one. If he doesnt, it will look like hes changed direction.

To build on these fundamentals, weve asked four

experienced professionals to share their tricks of the trade

and tips for avoiding common mistakes. Youll learn how

cinematography can support the action of a film and enhance

emotions, and how you can create rhythm and visual flow.

Youll also discover the magic behind the choice of focal lengths.

Read on to discover 15 simple things that you can do right now

to improve the structure of your next animation.

C

Webster ColcordWebster Colcord has been aprofessional animator since1987 and has worked withDisney, Fox, Warner Bros,PDI/DreamWorks and ElectronicArts. Hes currently AnimationSupervisor at The Orphanagewww.theorphanage.com

Johannes WeilandJohannes Weiland is a Germanfreelance director and animatorwho also teaches animation.His 3D animated shorts,Hessi JamesandAnnie & Boo,have won many awards. Hesrepresented by Studio Soiwww.studiosoi.com

Benoit GuervilleBenoit Guerville has beenusing a camera since he was12. Hes currently developingCGI-heavy projects in thesouth of France, and teachesPhotoshopand Art Direction

in a visual effects [email protected]

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IN FOCUS |The meaning of focal lengths

Cinematography tips | TUTORIALS

CREATE A POINT OF FOCUSThe rules that apply to the visual composition of still images also

apply to animated sequences. As a rule, your image should have a

point of focus: something to which you want to draw attention.

This will usually be located in the lighter-coloured part of the frame,

as this will draw the viewers eyes towards it. Ask yourself how the

other elements inside your shot help to guide the viewers towards

your focal element.

DECIDE WHO YOURE LOOKING ATCinematography also has its own specific set of rules, so make sure

that you understand and respect them before you break them!

The 180-degree rule, also known as the Action Line or the Line of

Interest, is probably the most important. It states that when two

characters are looking at each other, the camera should stay on one

side of the action and not go beyond a 180-degree arc. This ensures

that the opposing glances of the two characters remain consistent

throughout the scene, with one always l ooking towards the left side

of the frame and the other to the right. You should also ensure that

each one looks off the screen towards a point at which you could

reasonably expect to find the eyes of a character of the correct

height. Note that the more a character looks toward the camera, the

more the viewers are involved. The more he looks away from the

camera, the more the viewers become observers of the characters

thoughts, emotions and actions. Keep this in mind with your story.

CHOOSE THE CORRECT SHOT SIZEYou need to be aware of the different sizes of shots and what

each one is intended for. Generally, a wide shot is used to open a

sequence, introducing a set or creating an atmosphere. The closer

you get to the action, the closer the viewers relationship to it will

become. Therefore, a close-up of an object focuses the viewers

attention on it and conveys its importance in the storytelling.A full shot of a character has essentially exactly the same

function as the wide shot for a set it provides an overall context

for that character. It also serves to present them in relation to

their environment. Generally, you would begin moving closer to the

character once he has been introduced, unless you want to reveal

his body language first. Similarly, a close-up is often used to enable

the viewers to perceive whats going on inside a characters head

and to feel his emotions.

AVOID UNUSUAL LENS TYPESIn the real world, cinematographers have access to only a small

range of lenses with different focal lengths. In 3D, i nexperienced

cinematographers tend to use ultra-wide angles (that is, ultra-short

focal lengths). Avoid these: they look unrealistic and instantly give

away the computer-generated origins of your work, making it look

more like a bad videogame than a movie. If youre a purist, youcould eventually limit yourself to the fixed focal lengths that are

suggested in your 3D software, because these represent the lenses

used in real-world cameras.

PICK THE CORRECT FOCAL LENGTHChoosing a specific focal length can be difficult. To learn to

choose between long, short and neutral focal lengths, you need to

understand how they optically distort the image.

The 50mm lens is the closest to standard human perception.

Therefore, by using this focal length, youll show a 3D environment

in the way it would be perceived by a human being walking around

inside it. In general, focal lengths between 35 and 55 millimetres

create a fairly neutral perception theyre a kind of non-statement.

This can be a good way to focus the viewers attention on the

characters performances without adding any visual gimmicks.

Shorter focal lengths, such as 28mm, cover a much wider

angle than the human eye. They make everything appear larger,

and strongly accentuate perspective lines. These are useful for

enhancing large vistas, landscapes and so on, and theyre often

used in anime to inject a dynamic feel to a shot. Used in close-ups,

they magnify the flaws of a characters face and are thus often

used for comic effect.

LONG = INTIMATE

A long focal length helps

the viewers to connect

with this characters inner

thoughts, as the blurring

effect of the shallow

depth of field helps to

visually isolate her fromthe outside world

It may be conventional to open on a wide shot, but the reverse can pay

dividends. In Johannes Weilands Hessi James, close-ups suggest the heatand decay of a desert gas station, before a wide shot reveals the set

If youre unsure about continuity

between your shots, dont hesitate touse visual cues. Here, the second

characters shoulder in the foregroundhelps create a spatial relationship

between the two speakers

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SHORT = ISOLATED

In contrast, a short focal

length serves to isolate

the viewers. In this wide-

angle shot, the character

appears so small, and the

set so devoid of people,

that the contrast greatly

enhances the atmosphere

of loneliness

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IN FOCUS |Cutting between characters

TUTORIALS | Cinematography tips

In contrast, longer focal lengths tend to flatten the image, making

objects appear much closer to one another than they really

are. Obliterating space in this way can help to create a symbolic

relationship between characters. However, long focal lengths also

produce a short depth of field everything in front of or beyond

the focal point is out of focus. This is why long focal lengths

are generally used to isolate a subject f rom its environment. For

example, you could single out a person in a crowd or focus on a

characters face while everything else looks like an abstract blur.

This helps to draw the viewers into your characters world.

KNOW WHEN TO MIX FOCAL LENGTHSThere are two schools of thought regarding the use of multiple focal

lengths in the same sequence: some say you should and some say

you shouldnt! Choosing a fixed focal length for a whole sequence

is one way to create very discreet cinematography, with the focus

more on the characters than on the camera moves. This can be good

practice when youre starting out, since it forces you to concentrate

on framing shots rather than planning flashy camera moves.

On the other hand, modern cinematography tends to mix and

match focal lengths. You can see this in Hong Kong movies andanime, where a director will go from a very long focal length in a

close-up on a characters eyes (to show his concentration) before

moving to a very wide angle (when he jumps in the air to attack),

then back to a more neutral focal length with a camera circling

around him (as he hits his opponent with a slow-motion kick).

This is highly effective and stylish if done correctly. However,

more often than not, young animators overdo it. The key here is

dynamics and rhythm. Asian cinematographers are good at providing

breathing space before the action starts, speeding things up as it

unfolds. This can be seen in classic shots where the lead character

lands on his feet and his opponent drops to the floor. The action

often seems to freeze in the last few seconds for which the

opponent is still standing until he suddenly collapses.

STICK TO REALISTIC CAMERA MOVESIf you want your film to look realistic, stick to realistic camera moves.

In the real world, its a tricky job to move a camera smoothly, and

there are members of the film crew (the grips) whose main role is to

set up the complicated machinery that enables this to happen. As aresult. most of the time, real-world camera moves are pretty simple

affairs. However, this can be a blessing in disguise, since you should

never move your camera without good reason.

This good reason can be simple, like the need to follow a walking

character. The storytelling may also call for it: for example, in order to

close in on a characters face to show what shes feeling, or to move

away from her to reveal her loneliness. But if you do need to move

the camera, avoid crazy fly-throughs. Most of the time, theyll simply

be a tribute to your lack of cinematography skills. If youre unsure

about movement, youd be better advised to keep the camera still.

TRY ADDING CAMERA SHAKEIn the 3D world, everything looks too perfect, and t his is also true

of camera moves. In real-life filmmaking, its not unusual to use a

handheld camera, which will bring a slightly shaky motion to your

shot. You can strive to copy this particular ki nd of shake in order to

give your scene a more natural feel. Its also a good way to make the

viewers feel as if they are inside the scene, reacting to the action

or the tension. You can create this effect by adding noise to your

camera curves but, once again, be subtle and carefully observe how

live-action cinematographers use handheld movements. Dont be

tempted to overdo things.

MAKE USE OF CAMERA ANGLESCameras are very powerful tools for expressing a point of view. A

camera placed at eye level gives a natural point of view that mimics

what you experience in your everyday life. All other angles place the

viewers in a special position. A low angle makes characters and sets

look larger than life, while a high angle helps the viewers feel like

theyre dominating a scene or spying on the action.

FIND A VISUAL CONCEPTOne extension of this principle is to use a point of view to create

a visual concept for a shot. Keeping the camera at eye level and

068 | 3D WORLD3D WORLD May 2006

SHOT ONE

These paired

shots from Annie

& Booshow how

each interacting

character should

remain on the same

side of the screen,

no matter where

the camera is

SHOT TWO

Annie stays on the

right of shot, even

when the camera

reverses direction.

Similarly, the

directions in which

the two characters

are looking always

remain opposed

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Framing a character in a wide shot allows you to express more body

language, and is the ideal choice for showcasing physical comedy

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A close-up of a characters face placesstrong emphasis on emotions. You can

accentuate this effect with a travellingshot (pushing inwards). This still is fromOlis Chance, directed by Johannes

Weiland and Saschka Unseld

Stu

dioSo

i

Another still from Olis Chance.By establishing a scale relationship

between the characters and theirenvironment, as demonstrated in

this shot, a director can say a lotabout their inner strength or fragility

Stu

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FURTHER READING |Good books on cinematography

IN FOCUS |Understanding camera angles

Cinematography tips | TUTORIALS

following the action will make the viewers feel as though they are

really standing inside the scene, making them feel closer to the

characters. Alternatively, if you go for a frontal set-up in which the

picture has no depth, this will cause the viewers to feel unwelcome

in the scene, making them feel like outside observers. Another

option can be to show the viewers things that the character never

manages to see during the scene, or vice versa.

OPEN ON AN ESTABLISHING SHOTThe classic way to begin a sequence is by using a wide opening

shot. This lets the viewers understand where the action is taking

place and who the characters are. However, there are circumstances

in which you may want to ignore this convention and begin on a

close up. For example, if you want to mislead the viewers, you could

start close in a detail which then takes on a different meaning when

the camera pulls back. You may also want to create suspense by

showing the viewers apparently non-related elements and holding

back information about what happens next.

CLOSE ON A PARTING SHOTParticular care must be given to the closing shot because it containsthe information the viewers will be left with. Every sequence should

end with a strong emotion or a highly symbolic image that will keep

them wanting to know more. For example, you may want to close

on a wide shot to make the viewers feel as if they are walking away,

letting the characters deal with their own emotions. Alternatively,

you could focus on a characters face to get your viewers involved

in his emotions. Or you may wish to end with a visual clue for whats

coming up next, such as a close-up of the ticking clock sitting on top

of the box of explosives that the characters missed throughout the

entire scene ...

EDIT FOR RHYTHMEditing is a way to establish the visual rhythm between shots.

This rhythm should reflect the performance and emotions of your

characters. Its especially important in comedy or action sequences,

where timing is crucial. The animation should be your first guide as

to how to edit your sequences. Each change of shot should reflect a

change of thought, emotion or action in the character. If theres no

change, theres no need to change your framing.

Editing should also provide dynamics, which usually means an

opposition between tension and release. This is the reason why

Asian cinema makes such use of the contrast between slow and

normal motion. Generally, the slow motion creates a tension that is

released when the action goes back to a normal frame rate.

KEEP SEQUENCES CONSISTENTTo get a sequence of shots that edit well together, take a few basic

precautions. Follow the rules regarding opposing glances, make sure

the viewers have a good sense of the space in which the action is

happening, keep the lighting consistent, and dont forget that your

characters also need to be consistent in their motivation from one

shot to the next. And thats it. Now that you have mastered the

rules governing framing shots, choosing viewpoints and editing

action, we look forward to seeing the results in your own work!

Title: Setting Up Your ShotsAuthor: Jeremy Vineyard

ISBN: 0941188736 An excellent guide to the

subject, including many

examples from major movies togive you new ideas and to help

you understand shot selection

Title: Film Directing:

Shot By ShotAuthor: Steven D Katz

ISBN: 0941188108 An in-depth exploration of

the many camera-framingoptions that help to convey

mood and emotions

Title: Film Directing:

Cinematic Motion (2nd ed.)Author: Steven D Katz

ISBN: 0941188906 Following Shot By Shot, this

book builds on its predecessorby explaining the art of movingthe camera around the stage

Title: Cinematography:Theory and Practice

Author: Blain BrownISBN: 0240805003

Know what the rules are andwhen to break them with thisconcise guide to theory behind

the practice of making movies

Title: Grammar of the

Film Language

Author: Daniel ArijonISBN: 187950507X An in-depth look at the film

language, as well as staging andframing strategies, with plenty

of case studies and explanations

Title: The Visual Story:

Seeing the Structure of Film,TV and New Media

Author: Bruce BlockISBN: 0240804678

Goes beyond the concept offraming, encompassing all

aspects of visual storytelling

HIGH ANGLE

A high-angle shot makes the

characters appear in an inferior or

endangered position relative to

their surroundings. These two stills

are taken from The Adventures

of Sharkboy and Lavagirl in 3-D,

directed by Robert RodriguezImag

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Dimens

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Films

Cour

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Image

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Image

Dimens

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Films

Courtesyo

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LOW ANGLE

In contrast, a camera low on the

ground with a short focal length

places the viewers at the bottom

of the image and accentuates the

size of the characters: in this case,

enhancing the sense of danger from

the oncoming robots

MID ANGLE

Dont forget to stage things in

depth, too, creating a foreground,

a middleground and a background.

For this scene from Hessi James,

directed by Johannes Weiland, the

position of each character helps to

add depth to the shot

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