Chapter 6 & 7 Summary || Inspiration

Inspiration
Effective Sound: 
I thought this was a great example of effective sound used in a stop-motion animation because it not only uses a techno-like song which goes with the transformer theme, but also uses amazing sound effects - it's almost like you can hear every single move each transformer is making!
https://www.youtube.com/watch?v=1qTI82Lrw88

I found this stop motion to be so powerful because it didn't use music...the sound effects are so realistic the viewer almost forgets that it isn't real!
https://www.youtube.com/watch?v=GSzCLf8tjP4

Effective Text Animation:
I thought this was very interesting to watch...great use of typography and smooth transitions for a stop motion!
https://www.youtube.com/watch?v=W-UJJqdXvks

This was a cute and clever way to use text (no pun intended) in a stop motion!
https://www.youtube.com/watch?v=Snj_kdbar2Q


Sound Ideas

Let Sound Lead Story

·      In production, sound is an afterthought

o   Waiting until the middle / after animation to determine the soundtrack = missed opportunity

·      Lead with sound!

o   Let it be the primary compass for your storytelling

Diegetic and Non-Diegetic Sound

·      Music and audio = 80% of the work – Karin Fong

·      Diegetic Sound: comes from sources that are visible on-screen (or implied by action off-screen) and that come from the physical world

o   Ex: A dog’s bark, a creaking door, most dialogue, musicians, radios

·      Non-Diegetic Sound: sounds whose source neither is visible on the screen nor has been implied to be present in the action

o   Ex: Sound effects that are not natural to objects in the scene, music score, any off camera narration or dialogue

o   Is surreal to the action yet aims to enrich what is happening on screen

·      Animation uses both and can even morph one into the other

o   Ex: crying baby – you see them and know they are upset and it grows loud enough to break a glass

o   If it morphed into a lion’s roar or ambulance siren = diegetic à non-diegetic

Sound Effects

·      The first step in adding sound effects to a film = make a list of where you’d like to add them – then cut the list in half

o   Restraint = key!

o   Can enhance the story but overuse will leave the film suffering

·      A proficient user of sound effects is quite the poet – great restraint, a knack for metaphor and love of surreal

·      Search for a surreal sound that might embody what you’re trying to express

Music as Sound Effects

·      Some of your sound effects might not have to be “effects” at all

·      Could be more effective as music in some cases

o   Ex: Jaws – Dun-dun

Music

·      Can determine the emotional tenor of the story

o   Sets the rhythm for scenes – guides the audience’s journey

o   Can be added elegantly so it’s barely noticed or put front and center to announce mood changes and express the overall attitude

Score to “Theme”

·      Find or create a song to style the thematic basis of your music soundtrack

·      Stage = “Temp (temporary) track”

o   Don’t get married to music you can’t get the rights to

o   Purpose is to establish the feeling you’re looking for

o   Use that track to dig in for other songs that might represent the emotion of various scenes in the project

·      Look for tracks that best represent your main character

·      The songs will help to define the theme and tone you set out to achieve – should inspire you to create / acquire final songs that you can get rights to

Consider the Music of “Silence”

·      Less is more

·      Atmospheric music = a stripped-down hum from your soundtrack / a subtle rhythmic drone – adds personality to the scene

·      Advantage = feels like a breather for the audience – where they can experience the story on their own while you give them the slightest sense of your intended direction

o   Good sound design = undetectable – silent music provides an opportunity to integrate the soundtrack seamlessly while also raising the emotional environment

Score Against

·      Contrasting music choices place the audience in and uncomfortable spot and lets them know that something off is about to happen – keep your eyes wide open!

Dialogue

·      “The best advice for writing film dialogue is don’t” – Robert McKee

·      If you haven’t found a way to express a thought visually, then you haven’t tried hard enough

o   Match every line of dialogue to the personality of the character you have speaking it

§  Every line given to them should reinforce the traits you’ve given them

§  Once reading through, you should be able to tell exactly which character said which line

o   Make your characters speak as naturalistic as possible

§  Indulge in the fine art of subtext – text with suggested, subtle meaning

§  Can be funny – forces audience to follow the story more attentively

§  It is a more clever and interactive way to write

o   Use dialogue to set the mood of your scenes

§  Tense moments, people tend to speak in shorter, clipped sentences

§  Lighthearted moments people speak in an almost musical way – overboard with details

·      These details are important for internal monologues too – the inside of the character’s brain is a character too

o   It needs all the personality-driven naturalistic traits just like a character does

Narration/Voice Over for Motion Graphics

·      The script must be so simple that there is no room for misinterpretation and brief enough (given the time limit) that there should exist no words except those absolutely necessary to getting your point across

·      While writing your message, you must be simultaneously conceptualizing images and sequences that will best match your words

o   Mental storyboarding = key to writing narration that will work in final edit

o   Write brief & clear but also visually

·      It may need to be slowed down or lines should be modified / removed to stay within the time length

o   This also provides clues to where effects & music naturally fall

·      Next, move on to determine what music will be played before, during & after the narration

o   Reminder: Music should complement, not compete with the narrator’s voice!

·      “The pace of the voice drives things, type sits at the center, and design is the spoonful of sugar that helps the medicine go down…” – Patrick Clair

·      For design and animation, ask yourself how typography, icons, characters, photographs & video may fit to best tell your story

o   The big idea & message will determine the media you choose and how it will look

A Final Word on Timing

·      Timing is everything!

·      You will quickly learn that placing a sound effect or music cue a few frames off could be the difference between an emotionally satisfying sound & one that distracts / works against what you’re going for

o   Carefully consider if the placement packs the maximum emotional punch

Chapter 7. Design Wonderland: World Building and Environmental Design

·      Once you introduce the audience to your animated world, you must commit or you could risk losing them forever

o   EX: Families live in marshmallow houses – there should be a slight bounce in their steps on the way to the kitchen

o   “Continuity issues are a major pitfall of creating new environments in animation, so artists have to be extra careful to stick to the rules they have created. This is especially important in big story moments – it’s critical that story agrees with rules you’ve set up.” - Brooke Keesling – award winning filmmaker & educator

o   The audience will follow whatever wackiness you throw at them and they’ll take it very seriously so long as they feel that you’re doing the same

Designing the Rules

·      First, establish time & place à then the physical, social & visual laws

o   These “laws” provide consistent foundation and give your world a sense of authenticity

Your World’s Time & Place

·      Animated environments can range from real-world settings to a mixture of reality and fantasy to full-on fantasy

o   When defining the era, consider technology and other factors that vary greatly across decades

o   Choose the time & place that will help create the best story – fill environment with details that facilitate interesting conflicts

o   Details of time & place work to elevate the conflict – the world can provide an organic roadblock

Your World’s Physical Laws

·      Understanding physical laws will provide you with a reference to turn Earth’s physical laws upside-down for your story

·      Consider whether or not creating a new physical law will enhance or detract from your story

o   Don’t just do it because it seems cool, do it because it’s meaningful to telling the story

·      “Even the most amazingly inventive environments can ruin a story if they compete with the main characters and diffuse the key ideas of the story.” – Keesling

Your World’s Social Laws

·      It is also important to dig into Earth’s history – a bunch of mind-bending social norms have existed in various places that can provide you with inspiration for your invented world

o   Take advantage of how those new social norms can enhance your story

Your World’s Visual Laws

·      The success of your animated story depends on the tone set by your visual world

o   Space, line, shape, color, contrast, & texture are all visual aspects you can create laws for in order to enhance your narrative and distinguish your story from others

·      Consistent & mindful visual choices made when designing your environment will strengthen your story

On Motion Graphics & Branding

·      Brands are products, services & offerings that are organic, breathing entities

·      Once you’ve studied the core values of the brand, you can begin to design a world around it


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