Animation Sample

Blog Assignment #6 Animation Deconstruction

The two images displayed above are from the movie Wall-E, a personal favorite animation of mine. The colors of the two images are very similar, while the brightness is quite different. Both images have a blue tint to them, or a blue hue. The blue hue might reflect that they are in the future, which they are. The brightness though, is very different in the images. In the first image, the brightness of the blue hue is a lot brighter than the second image. The lighter blue displays a more intense, mid-day, fast working environment. The darker blue in the second image displays a more sad, calmer, night time sort of environment. The saturation of the second image is clearly more evident in that the blue is the richest of blues. The first image is quite saturated as well, but not nearly as much as the second.

As for lighting, the light is quite different in both images. In the first image, the light seems to be coming from overhead, as well as from the machinery behind the subjects. It is a brighter light than the second image, and displays more of a daytime feel. The shadows in the first image are pretty evident, and lets the viewer see that the light source is in fact coming from overhead because everything below is covered by shadow. For the second image, the light seems to be coming from the sky, perhaps the moon. the light reflects off of some of the trash that Wall-E is standing on, and it also makes Wall-E glow. This sets a melancholy mood, for Wall-E is looking up at the light source. Because the light is coming from the sky, and Wall-E is looking up at it, it seems as though there is symbolism that he is looking up at the light for hope. The images shown clearly compare quite nicely. They are different in some ways, and similar in others. Between Color and Lighting, the images are unique in their own ways.

Blog Assignment #5 Storyboard Imitation

This scene is a difficult one to talk about because it is based off of two shots. It just cuts between the two. As for the 180 Degree rule, the director DOES follow it. In the first shot, it shows Cameron directly head on. We see the background, and get to see where he is in the car. In the second shot, we see a wide shot the car in the middle of the driveway. We can still see the front of the car, but get to see exactly where the car is, thus the director is NOT breaking the 180 degree rule.

As for the Rule of Thirds, The director decides to steer away from those types of shots. In the two shots we see in the scene, the subject is in the direct center of the shot. Cameron, in the first shot, is head on, and we can see that he is in the driver's seat. He is centered in the shot. For some reason, though, this does not look bad. In the second shot,  we see the car in the center of the screen as well.

For the 30 Rule, the director follows it. Between the first and the 3rd shot, we move both at least 30% out, and 30 degrees to the side. This is a completely different shot, almost as an establishing shot as to where the car is. When we get to the third shot, we see that it is the same as the first, thus following the 30 Rule.