Some people have been looking for a brush in TvPaint that feels a little more like drawing in Flash (Animate), so here’s a very simple little brush to do just that.
Getting back into painting with a little Norman Rockwell masters study. It’s quite rough with most of the time focused on the face, I’ll leave this study where it is, but as a critique…
I thought I’d also include the brushes I used for this study as well, they’re nothing special, everything was done mostly with one simple brush, occasionally swapping to a more textured mark when I felt like throwing down a bit of texture in places, which was just a little test and for the study itself wasn’t actually necessary.
So I just waisted My Retro-Boarding time, trying to remember how to go through a video in VLC frame by frame. So to anyone who doesn’t know and to myself who’s sure to forget again. There’s an Add-on for VLC called “Jump to time (Previous frame) v3” which can be found at https://addons.videolan.org/p/1154013/
Once the extension is installed it can be found under ‘View/Jump To Time’ in VLC. Now you should be able to go though your films, frame by frame, or at whatever rate you want, backwards or forwards.
Segar’s Popeye is a character compounded of vulgarity and compassion, raw aggression, and protective gentleness, violent waterfront humor and genuine”senskibiliky,” thickheaded stubbornness and imaginative leadership, brutal enmity and warm friendship, who can knock out a”horsk”in rage and nurse a baby carefully while it is suffering a fever that makes thermometers pop. He is no paranoid daydream, but a realistic, complex, often wrong but determined man of action who suffers continual agonies of decision, who pursues what he believes to be right far beyond the bounds of cop-interpreted law and order, who has to light his very way to comprehensibility though the warp and woof of an English language that is often almost too much to him. . . .
– Bill Blackbeard (Comic Art Scholar)
This is a character description of Popeye by Bill Blackbeard that I quite like, providing a finely tuned literary Description, though its deft concision reveals a retrospective insight that I feel is only replicable as a posthumous reading of a character, rather than a practical authentic oracular envisioning at the point of a characters conception. But, I still feel it conveys a degree of clarity that stands as a beacon for what should be aimed for, when starting a character.
floobynooby.com is a fantastic storyboarding resources, however everything has just been dumped, in a good order but still dumped, all on one page; making finding things on the page a touch frustrating. One section I’d like to highlight is the write up on Retro-boarding which is described as…
One of the best exercises for learning all about cutting and staging film is to draw thumbnails while watching a section of a film.
View this clip.
Play and pause on each shot, and draw what you see, indicate any camera moves, changes in poses and expressions, recreate the posture, framing and subject placement for every shot. Keep it rough and simple, imagine you are reverse-engineering the sequence as you break down these shots to storyboard them. Think about the pacing and editing, why the shots are framed the way they are, where the negative space is, when and why does it go to close-ups, and where is the main focal point in each shot.
So whenever I “step through” a sequence or section of a film. I usually have a reason why I’ve picked that particular clip, and it usually relates to something I’m working on, or I found the clip or sequence to have some striking compositions or nice editing techniques.
I’ll draw a small thumbnail to represent each scene. If it’s a short scene I’ll usually pick a “key” frame from the scene – an image that best describes what the scene is about. Or is it’s a long scene, I’ll draw more images – whatever is necessary to get the idea of what the director has done with the staging and the camera work (if there is any).
Studying film this way forces you to really grasp what is happening in minute detail. Having to “transcribe” what is happening onto paper forces you to really notice every little thing about each scene, and you can learn a lot more about filmmaking than you can if you spent the same amount of time just watching films.
I found this Assassin’s Creed trailer, I was hoping to get some inspiration for staging dramatic action as well as some inspiration in composing shots for a widescreen format.
I think in animation we tend (at least I know I do) to think of shots that start, then an action begins, that action finishes and then you cut to the next shot where the next action begins. That way of thinking can be beneficial for animators because it gives them a scene with an entire action in it. It can be frustrating for animators to try and divide the same action over several different scenes. But I like how in this clip, the actions begin in one scene and then finish in the next shot (or the one after that), or that sometimes you never see the action actually finish, you move onto the next beat when it’s clear that a beat is over. I like that, and when I was boarding my most recent assignment I tried to do that more. It creates more excitement, if you do it right. Then the rhythm of the cuts can be surprising and unexpected instead of plodding and predictable. But you have to do it judiciously.
Also the camera never stops moving in this clip, which can add a lot of excitement to a scene when it’s done with restraint and reason, to compliment the action that’s happening. Too many times people just move the camera to move it and the effect becomes tedious or makes you seasick. But I liked the restraint in this clip and I thought the camera was always moving in a way that added to the impact of each moment.
One more thing: for the most part, Ezio (The Assassin) and his nemesis are placed in the center of the screen which gives them a place of power. In scenes where Ezio is not in the center, you don’t see his face, or only parts of him, and he’s usually bigger onscreen than anybody else. All of these things are great devices to make a character look powerful on screen.
Don’t worry about doing perfect sketches. They’re just for you, and it’s just a learning tool. But don’t just scribble them out, either, put enough into them that you are actually getting enough down that you are seeing the patterns and getting down how the staging and cutting is working. Be precise, but don’t spend too much time on each individual drawing. You want to do them fast enough that you can see the cutting patterns over several scenes, and if you spend an hour making each sketch perfect, you won’t ever get the feel of how several scenes are linking together in a row.
Do this exercise for yourself every week, choose a 2-4 minute clip from any TV show and movie. Pick good filmmakers, of course, and pick good scenes. At least in the beginning, stick with filmmakers that are known for preparing in advance and being meticulous about controlling what you see on screen. I would suggest directors like Hitchcock, Spielberg, Lucas, Kurosawa, James Cameron, etc. I spent many hours thumbnailing sections of “Raiders of the Lost Ark” when I was first learning about boarding. The truck chase is a particular favorite of mine because there are many changes of screen direction at the beginning that are handled well.
Here’s some of my boards for the Assassin’s Creed trailer.
The important thing is to get something out of it and learn!
And one more piece of advice…if don’t think your drawing skills aren’t very good; and you absolutely don’t want to try to draw your way through a scene, try watching the clip without sound. This will allow you to focus on the visuals and concentrate on the cutting and staging without the distraction of the audio.
Here’s an anyalysis of the opening to my all-time favorite, Blade Runner: