My Previs Progress
In this version of the previs, I have made incremental refinements by adding more details to improve clarity, particularly for viewers unfamiliar with the sequence. These adjustments aim to enhance the narrative flow and ensure a more comprehensible visual presentation.
One aspect I remain uncertain about is the newly introduced camera angle in the second part of the sequence, where the balloon is nearly compressed inside the car. I am considering whether this perspective effectively conveys the intended tension and spatial relationships. Further evaluation and potential refinements may be necessary to achieve the desired impact.
Changes made
- More details to the environment
In this version of the previs, I have refined the environment to improve visual clarity while maintaining a simplified approach. The road has been adjusted to resemble a more realistic path, ensuring that its function is easily understood by the audience, even without intricate details.
Additionally, I have added more definition to the buildings, moving beyond basic cube shapes to provide a clearer sense of structure and depth. These refinements contribute to a more coherent and immersive setting, making the previs more accessible to viewers unfamiliar with the scene.
2. Change of movement
In addition to implementing my tutor’s suggestions, I made an additional modification by introducing moving cars into the scene. Previously, the absence of motion made the car appear unnaturally static on the street, which felt somewhat disconnected from real-world dynamics. By adding this movement, the animation now flows more smoothly and creates a greater sense of realism. The outcome has been effective in enhancing the overall believability of the scene.
3. Speed of the floating balloon
In several scenes, I have refined the timing by adjusting the speed to create a more dynamic and engaging visual flow. Specifically, I incorporated an ease-in effect at the beginning of certain shots, allowing the balloon to enter the frame gradually before exiting more quickly. This adjustment adds a sense of natural movement and variation, making the shots feel more dynamic and visually compelling rather than static or monotonous. Additionally, the subtle motion in the camera further enhances the overall cinematic quality of the sequence.
4. Change of shot
The most significant update in this version of the previs is the addition and modification of a key shot. Initially, Shot 8 shared the same camera angle as an earlier shot near the beginning of the animation. However, based on my tutor’s feedback, I recognized that repeating the same shot could feel redundant and disrupt the visual flow of the sequence.
To address this, I conducted additional research on shot composition and storytelling techniques, which reinforced the importance of variation in cinematography. As a result, I reworked Shot 8 to introduce a fresh perspective, enhancing both the visual interest and narrative clarity of the animation.
I decided to revise the shot by having the camera follow the balloon as it floats underneath the car, ultimately getting squashed. Initially, this change felt somewhat disconnected from the subsequent shot, where the balloon floats upwards towards the sky. The transition between these two shots appeared awkward, disrupting the overall flow of the sequence.
As I continue to refine this transition, I plan to explore ways to make the shift in motion more seamless, ensuring a smoother progression between these contrasting moments.
To improve the transition, I extended the duration for the balloon to float toward the sky. While this adjustment helped, the sequence still felt somewhat disjointed, and I was unable to resolve the issue on my own. To address this, I plan to seek guidance from my tutor during the next tutorial, hoping to gain insight into how to better refine the transition and enhance the overall flow of the animation.
Changes to be made
- Connection of shots
One issue I have yet to fully address is the connection between the newly added shot and the following one, particularly in relation to the 180-degree rule in cinematography. According to this rule, it is preferable to avoid shots where the camera moves 360 degrees around the main character, as this can disrupt spatial orientation for the viewer. Instead, the camera should maintain a consistent perspective, either staying within the front and side views or the back and side views, but not transitioning abruptly between the front view in one shot and the back view in the next.
I plan to revisit this section to ensure the camera angles follow the 180-degree rule more effectively, creating a smoother and more intuitive visual flow.
In the previous shot, the camera follows the balloon from behind, but in the subsequent shot, it captures the balloon from the front. This transition creates a break in spatial continuity, violating the 180-degree rule. To resolve this, I plan to adjust the camera angle in the next shot to a slightly side view, rather than a fully frontal perspective. This change will help maintain a consistent spatial relationship between the shots, ensuring smoother continuity and better alignment with cinematic conventions.