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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
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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
e
Dimens
ion
Films
Cour
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he
Orp
hanage
Image
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Image
Dimens
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Films
Courtesyo
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Orp
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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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