{"id":420,"date":"2018-04-08T04:05:28","date_gmt":"2018-04-08T04:05:28","guid":{"rendered":"http:\/\/hardy-lavoie.com\/?p=420"},"modified":"2018-11-11T04:06:34","modified_gmt":"2018-11-11T04:06:34","slug":"module-5-stinger-animation","status":"publish","type":"post","link":"https:\/\/hardy-lavoie.com\/?p=420","title":{"rendered":"MODULE 5: STINGER ANIMATION"},"content":{"rendered":"

Reading & Writing<\/strong><\/p>\n

Chapter 8: Techniques<\/em><\/p>\n

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This chapter covered a lot of the creative choices a filmmaker has when heading into the home stretch of an animated project. Mainly, it discussed the differences between technique and style, listing such technical options as implementing hand-drawn art, 2D stop motion, 3d stop-motion, 2D CGI and 3D CGI, and stylistic\u00a0choices such as fluid transitions, Kinetic art, handmade, collage, film, and 3D.<\/p>\n

What kind of surprised me was that this chapter was so close to the end of the book. I feel like if you commit to a technique and style early in the process it can affect all of the other parts of the pre-production timeline that we have already covered. Like, if I decided to go with a hand-drawn animation, the colors I chose for it might be more natural and toned down than if I went with a 3D CGI technique, where brighter, vibrant colors and texture might be employed. The asset-building process covered at the\u00a0beginning\u00a0of the book will likely look vastly different depending on these qualities.<\/p>\n

I suppose that is where the adapt and adjust methods may come into play. I think that just as a personal habit, I struggle with this. When I get my mind set on something and I want it to work a certain way (while editing photos, for example), I plan around that vision. And that plan starts before I even get to the location of the thing I want to photograph. To get to the editing process and find that I need to make a number of creative changes would feel agonizing to me. When we made the cinemagraphs earlier this semester, I had to go back to a location to film THREE times because I wasn\u2019t willing to adjust to the situation I found myself in so far into the process. So because of that, I feel that I would need to make these technique and style choices much earlier on.<\/p>\n

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Research to Inform<\/strong>:<\/p>\n

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  1. Squash & Stretch<\/em><\/li>\n<\/ol>\n

    I think that this might be my\u00a0favorite principle of animation, which is why I chose it. I think there is just something visually pleasing about following the motion with your eyes and getting the satisfaction of seeing a realistic movement when the ball hits the \u201cfloor\u201d.<\/p>\n