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Previsualization in Computer Animated Filmmaking THESIS

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Previsualization in Computer Animated Filmmaking THESIS Previsualization in Computer Animated Filmmaking THESIS Presented in Partial Fulfillment of the Requirements for the Degree Master of Fine Arts in the Graduate School of The Ohio State University By Nicole Lemon Graduate Program in Industrial, Interior and Visual Communication Design The Ohio State University 2012 Master's Examination Committee: Maria Palazzi, Advisor Alan Price Dan Shellenbarger Copyright by Nicole Lemon 2012 Abstract Previsualization (previs) is a pre-production process that uses 3D animation tools to generate preliminary versions of shot or sequences. This process is quickly gaining popularity in live action film, and is beginning to be used in animation production as well. This is because it fosters creativity by allowing for designers and artists to experiment more freely and intuitively with visual design choices, and insures efficiency in production and post-production. Previs is also able to provide a means to communicate and test plans visually in the pre-production stage which enhances clarity and understanding. The intention of this thesis is to make available information about previs that is, for the most part, unpublished or unknown by all but those already deeply involved in the process, and to explore and document the application of a previs process of my own in the production my first short film. To begin I will describe the previs process from several perspectives. Previs will be presented in historical context in order to provide insight into its development. Next I will present the results of an industry professionals survey conducted in late 2011 and early 2012 as a way of revealing an insider’s viewpoint on the use of previs in commercial computer animation production. A major element of my study in previsualization has been the production of a short film. Following the industry survey results I present an analysis and reflection of ii my own experiences in making my short film, Wonder. By comparing my process to the process as described by the surveyed professionals, I write in depth about the process of making Wonder, and how previs was used in this context. The concluding chapter is used to present the analysis and to summarize the information I have gathered through interviews and practice. From my experiences, I will present my observations and describe new ideas that have since been developed in the course of this work. It is my intention that this information will serve to document a particular moment in the state of the art of previs (early 2012) in light of the rate at which previs is growing. However, I feel that this snapshot will serve as a starting point for those who might want to learn more about this uncelebrated piece of the animation practice, whether they are students, educators, collaborators or simply interested in the topic. iii This document is dedicated to my mum. iv Vita 2003………………………………………………………...Upper Arlington High School 2009………………………………B.F.A Art and Technology, The Ohio State University 2009 to present ………Graduate Research Assistant, ACCAD, The Ohio State University Fields of Study Major Field: Industrial, Interior and Visual Communication Design v Table of Contents Abstract ............................................................................................................................... ii Vita ...................................................................................................................................... v Table of Contents ............................................................................................................... vi List of Figures .................................................................................................................... ix Chapter 1: Introduction ...................................................................................................... 1 Project Focus and Scope ................................................................................................. 1 Professionals Survey to Discover Previs Methodology and Techniques ........................ 4 Independent Filmmaking Project: Wonder ..................................................................... 5 Analysis and Summary.................................................................................................... 6 Chapter 2: Previsualization and Industry Professionals Survey ......................................... 7 What is Previsualization? ................................................................................................ 7 Historical Context of Previsualization in the Production Process .................................. 8 Advances in Animated Feature Previs .......................................................................... 13 Differing Approaches to Previs in Animated Film by Studios ..................................... 14 Sharing Live-Action and Animated Filmmaking Techniques in Previs ....................... 15 Previs Finding a Place in Animated Feature Filmmaking............................................. 19 vi Extending the Previs Process in Animation .................................................................. 20 Using Previs in Story Development .............................................................................. 24 How Previs Changes the Filmmaking Process .............................................................. 27 Chapter 3: Previs in my Animated Short Film.................................................................. 31 Proof of Concept ........................................................................................................... 31 Short Film Methodology ............................................................................................... 41 The Story ................................................................................................................... 43 Storyboards ................................................................................................................ 45 Layout and Animatics ................................................................................................ 47 Camera and Character Blocking ................................................................................ 51 Cinematographic Design Choices ............................................................................. 52 Wonder .......................................................................................................................... 55 Visual Style – Inspirations and Motivations.............................................................. 57 Early Visual Development......................................................................................... 62 Previs in Wonder ....................................................................................................... 67 The Beginning (Opening Shots + Mural) .................................................................. 68 The Middle (Courtyard) ............................................................................................. 71 The End (Rooftop) ..................................................................................................... 74 Reflection................................................................................................................... 75 vii Chapter 4: Analysis ........................................................................................................... 78 Initial Reactions............................................................................................................. 78 Addressing Initial Questions ......................................................................................... 82 The Future of Previs ...................................................................................................... 95 Next Steps ..................................................................................................................... 97 Appendix A: Interview Responses from Industry Professionals about Previs ............... 100 Works Cited .................................................................................................................... 136 viii List of Figures Figure 1 – Storyboards from The Birds, drawn by Harold Michelson, compared with the final shots of the film. ......................................................................................................... 9 Figure 2 - Minimized visuals in an attempt to create a neutral style ................................ 33 Figure 3 - Ambiguous gender character model................................................................. 34 Figure 4 - Early storyboards from Wonder ....................................................................... 47 Figure 5 – Temporary character models are placed and posed during layout .................. 49 Figure 6 - Blocking the action and experimenting with camera angles ............................ 51 Figure 7 - Flutter - Zeppelins ............................................................................................ 59 Figure 8 - Flutter - Grafitti ................................................................................................ 60 Figure 9 - Backwater Gospel - concept art ....................................................................... 61 Figure 10 - Backwater Gospel - concept ........................................................................... 62 Figure 11 - Muralist .......................................................................................................... 63 Figure
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