We'll block in a basic camera move the tilt, the pan, the slide, and the focal shifts. We can program sliding movements, tilting movements, and panning motions to connect to the pre-visualization that we did in Cinema 4D. And one of the strongest powers for our purposes is you can actually control the motion of the camera, so using Dragonframe and Emo Teemo box. So that's where you would check your focus and your exposure. You can also use it to test your shots in a cinematography room. And this is a program you can use to animate. So the Canon 7D and the Emo Teemo box are both tethered to a animation software program called Dragonframe. It's a beautiful lens, and it's been sharp at just about every lens length that we've used. The camera that we're using is the Canon 7D, and we have used this same lens for almost every shot. And all of those elements are synchronized with the Cinema 4D Character Animation, and they're planned ahead of time. Characters are always coming into the baker, so the door is opening and closing. Right? So we'll actually animate that frame by frame stop motion. Often characters will be getting up and leaving and their chairs will move. We'll also plan out how the character animation, the Cinema 4D animation interacts with stop-motion props. Male Speaker 1: In this Cinema 4D pre-vis we're pre-visualizing the set up. Female Speaker 1: So, once the camera is set up we usually bring the old puppet as a stand in so we can study the lighting. She, she actually carved into the wood so that the light would pick it up in an interesting way. ![]() That was something that Rue was sensitive to. It's really nice to see how the light interacts with the props and how it sort of pings off of surfaces and picks up the texture of the wood. Where the lighting is very pointed and graphic. Some of the lighting that we were inspired by were like Edward Hopper paintings. One is like a bigger soft box, and the other is a more direct sort of snoot type of light to create these really sharp geometric angles. So that we're always matching the the light during the time of the day over the course of the 18 hours of the film. ![]() Do you want to talk about the lighting? Male Speaker 1: Yeah so we have this handy little grid here. So first of all we used the Cinema 4D animation as a reference and we set up the camera according to it and then it also depends on the time of the day. ![]() It's the bakery, and you can also see the background. As you can see, there are lots of sets, and we had to block off all the natural light source from the other side of the room, so we have a total control over all the lighting situation. Female Speaker 1: So this half of the studio is where we photograph and do stop motion. To have all of these things that are happening for free, like lights bouncing around a set, lights bouncing of the floor and creating colors that you didn't anticipate. And that's something that's important to our process. The fact that materials react in interesting ways with real light. That's one component that we really respond to. Male Speaker 1: The physical textures of the set are important.
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