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A first (more or less) finished animation sequence. I compared it with my original storyboard to note the changes I make along the way. I started the actual animating of the hands with the main keyframes drawn on paper. Mainly because I am much quicker with pen and paper and the movements look more fluent. My initial thought then was to add inbetweens with TVpaint. I noticed however that I ought to make the most important inbetweens on paper as well. (I now had about 26 frames drawn on paper, which roughly took me 2 hours) This is important so that I can time the movements better. More notes! I tried to colour a frame in various ways: While I'm not a fan of the complete coloured look I might consider painting in details to accentuate them. Another idea: As I continue working and figuring out new ways to present my idea I've come to the conclusion that most my shots are worked up rather organically. I start with a definite foundation (the images in my storyboard mainly) and glue layers on that. Or strip layers down. This is very much the same working style I use when I work in my sketchbooks with collages and such.
With the ending of our trip to Nieuwpoort I can finally manage to put a few things in order. I've finally come to a working title for my film as well as a short and clear description. 'This reminds me of you'(Workingtitle) is a film about the unspoken intimacy between people and the delicate relationships that are built around that. With this vision I approach people and form a conversation to see what their own perspective and experiences are with this idea. What I want to accomplish with my film is the translation of this concept to a non-narrative visual collage that focuses on the experience of the intimacy rather than a traditional story telling. At the same time I'm bringing a tribute to these relationships and people through tiny portraits- Portraits in this case being the actions, places and stories that are associated with them. Next up I realised I'm somewhat struggling to find a proper question for my thesis. Whereas I was first concerned about researching poetic film and film poems I quickly found out this subject was difficult and not interesting to pursue. Because definitions around film poems, poetic films, film poetry, etc... are related to historic context and the way author film makers wanted to be perceived at the time it all becomes an endless discussion. It doesn't help that postmodernism managed to completely erase any definition regarding film poems and pretty much made it open for interpretation, turning the whole genre into something vague. If I wanted to continue down this lane I felt like I first needed to give a historical analysis before I could link it to my own work. And I'm not one for beating a dead horse. Instead I want to focus on the intuitive work process behind these films. And how different artist approach making films in a way that's defined by feeling and not thinking. How far and what I will talk about is still unclear, partly because I have yet to decide on a question- and start research. Practically speaking I know what I have to do to guide my actual film through a proper development. As I'm currently storyboarding bits and pieces I'm also starting on turning them into animatic scenes. I'm gathering these scenes and acts in a way that I can puzzle them together later into a montage. My deadline for a, more or less, finished animatic is the end of December. By then I also wish to have short bit tested out with actual animation- how I want it to look in my finished film. This way I can figure out how much my workload is and where I need to cut back to safely reach my goals. During this time I also need to develop my sound concept further, going out in the field and pick up some environment recordings. All in all it'll be a busy month but I reckon it will pay off when I have to start the actual animating. "One the of the main characteristics of film poetry, I would say, is the way the film poem is made. (...) Whereas the commercial film has to be laid out ironclad from the beginning to the end, has to follow the script to the point, (...) the film poem follows a different process. There is a general direction, there is an aim, a meaning, a mood in the process of production. But all that grows is not foreseen. It is a result of the creative process itself. It is not so much planning as it is feeling along the path which the theme takes. In other words, the material you accumulate during the shooting is more or less raw material; though is has been planned to contribute to a specific scene or aim, it might, in the end assume a different meaning altogether. This I would call sensitive improvisation." - Richter, Hans, Hans Richter, London: Thames & Hudson, 1971 pg 144
THINGS I FORGOT TO MENTION:
- Theme: The 'connections' are not sexual attraction and/or romantic interest. But rather the small glances and nods to friends or even strangers. Something platonic yet intimate. Examples will be given once they are gathered from the interviews. - Why this topic?: I want to translate the experience to film - Narration: I will go out on the field to interview people about this subject. The stories I will use as inspiration but not as direct documentary. The things I manage to record are not supposed to end up in the final work. Why? Because I wish to focus more on showing the ideas and impressions instead of repeating whatever the person said in images. ---------------- I should've really figured out how to work properly with PowerPoint by now. But I didn't. What to do now? I can't start on any storyboard or script as long as I have nothing to work from. This means it's time to find some inspiring stories and ideas from people. Here I go awkwardly interviewing strangers! This also means I have to get some sort of submit-box going for anonymous internet confessions. Just to be approachable to the introverts out there. |
Artist
My name is Liesbet, I like to draw and study animationfilm. Archives
Mei 2016
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