The script- The Guest- Part 3

However when I try to befriend with the guest further, the master computer is alarming again. I am glancing radar monitor impatiently and I find there is a huge UFO close to us. I am so scared.

I look out of the window quickly and then go back to the control panel. My hands are trembling. I try to keep calm down. Several seconds later, I rotate a grey button to raise radar resolution. Actually, that is a huge aircraft whose main part is a big sphere. Its diameter is about 50 meters with a high power laser weapon on top of it.

I pull the guest out from those foods in a hurry and put it on the console. “Is it for you?” I am pointing to the screen.

At the moment, the guest may be even more nervous than me, he directly jumping into a red button. (The word “attacking” is on the button.) Fortunately I stop him in time and then I relax down.

Apparently the guest has understood my mean and jumps into the front of radar screen looking at that big subject and meditating

Facing the screen for a while, I make a big decision that I will escape as I have to bring the guest to the earth safely. I can not imagine how long I can keep if that big guy attack my spaceship. (The image is my imagination of suffering a strong attack.)

However my spaceship runs slowly and that big sphere is tracking us firmly all the time. I despair of it, sitting on the chair. In order to protect the guest, I put him on the side of its can spaceship and shaking hands to him for sending-off. But he just jumps there instead of entering the cab. Maybe he does not want to leave me alone. I am touched by our friendship. I wipe tears from my eyes with an unspeakable joy in my heart…

For a moment, I suddenly understand…

"You mean... take it like this?" I look at his spaceship and put my two fists strongly bump together. The guest jumps more exciting. I understand hurriedly and put the can spaceship into the ammunition storehouse, then adjust the angle to the target again and again as we have only one chance. There could not be any mistake.

With clicking on the button, there is a regiment dazzling light shining in the open space. The huge sphere is disappearing completely.

Finally we go back to the earth safety and after three days I receive the instruction:

“The corporal #007, belonging to Transportation Department of Logistics, The Northern Galaxy Fifth Fleet, plundered the universe test drift cabin without any authorization, which seriously destructed the research on ‘The Biological and Psychological Reaction in Enclosed Space around Black Hole’ by The Central Academy of Sciences. Moreover, you feed the experimental organism by corruption foods making him dead which made all of scientific data acquisition work failure. Seriously, you destroyed the data tracking satellite following the drift cabin which made a huge waste on property and resource. So we decide to stop all of corporal #007‘s duties immediately, waiting for the further treatment.”

The script- The Guest- Part 2

Oh my god! I quickly make a standard salute to it and then I adjust the hand gesture slightly in order to be photographed more handsome by that monitor. After all it is the historic occasion that human contact with the civilization outside of the Milky Way. “I am the big man and people will remember me for ever.“ (This is my imagination that I wear Military uniform with lots of medals. Varies of flash are constantly flickering in the black background and I am smiling just like a hero.)

That creature is panic and swaying its body uneasily. Maybe he does not understand my intension. Hurriedly I take it off from driver’s seat and put it in front of my eyes.

“Sir, please do not worry, I won’t hurt you although we are the different races. Trust me. If you have any diplomatic mission going to the earth, I am pleased to be with you. Of course if you want to mend your spaceship I will try my best.” (I speak aloud using a special language…######. I am so excited. The translation of those words will be on the screen.)

But there is no reaction. It just looks at me, like thinking about something. (The camera is close-up on its eyes and my body is reflected on them. It blinks sometimes and shakes its head slightly).

“Oh my god, there must be some problems with the life-maintenance system of your spaceship. I will prepare some food for you.”

I order the nanny robot to move all of the food from the storage room to the command module as I really do not know its taste. Obviously it is hungry that it even puts corruptive food into its mouth. I am surprised. Maybe its digestion system has achieved a higher level that could digest any organic matter.

“May I have a look at your spaceship”? (I put forward my request carefully and there are different kinds of expressions changing on my face to proof of my sincerity). At the same time I order the robot to bring some soft drink for him. Several seconds later he is still eating edaciously and does not refuse me. Then I begin to look over such a sophisticated spaceship to appreciate its design and function. (The camera is close-up and moves slowly for describing the spaceship).

……

I am surprised as there is not any weapon of self-defense equipment inside, the only equipment is a communication instrument. It looks like a can without gravity traction system.

“Maybe this race has evolved to Power of Thought Drive. He is the spaceship and the spaceship is him”. Oh my God!

As a professionally trained military pilot, I have visited a lot of extraterrestrial civilizations and understand them more or less. However I am greatly shocked when I see the inner pilot.

Its appearance is not quite abnormal as at least it has an outline. Even the liquid biological creatures have been conformed by our military and what else could scare current human? But I was frightened.

I can not believe it is just less than ten inches tall. Although I have imagined it definitely will not be a big guy according to its small airship. There are two ears on the top of its head which are almost bigger than its face. Most outstanding is its two incisors out of mouth which makes him in high spirits. It also has a metal circle around its head which is connected with a lot of electrodes and other machines. It is similar to an America hamster belonged to my little niece.

No matter how its appearance looks like, even it is a piece of amoeba, it is also a guest from an extraterrestrial civilization. I hurriedly call for master computer opening interpreter and get ready to speak to it. However the loudspeaker above the big screen tells me peacefully: “there is no corresponding racial language in data system.”

There are all of racial languages saved in that violent computer within the Milky Way. So it is possibly a civilization outside of the Milky Way!

The script- The Guest- Part 1

I do not know how long I have slept in the shuttle. Suddenly I am awakened up by the nanny robot. It takes me out of the life cabin and puts me on the front of control panel.

Several red words are flashing frequently on the screen which symbolizes the highest alarm" there is an unidentified object appearing nearby. Shooting down, shooting down!"  

Although I am a soldier; I have patriotic passion; I have the courage to eliminate anything which would menace the security of human life. However I can not agree with the suggestion by that handicapped computer. Since my airship is... A cargo ship! (I am looking out of the window and the camera move from close-up at me to long shot of the spaceship. The word "cargo ship" is on it.)

How could those engineers set up such a bloodthirsty violent computer for me? Maybe at that time they putted too much attention on the war and only have the operating system of destroyers. Actually, this trial task will be less than a week and I totally need not the life cabin. However when it suggested me at the 45^th times to attack small meteorites passing us I have to hide into the life cabin. Generally speaking, during the war age, the life cabin will be forced open just only if the airship suffers deadly strike in order to allow pilots having enough time to leave their last words. Apparently that computer stick to shoot down something else to wreak even it is dangerous for its host's safety.

If there are some alien armed ships patrolling and it mistakenly thinks that being attacked, a tentative blowing would make me disappear immediately. I can not be so stupid to make myself in danger just for computer’s fun. So I will still be silent.

To turn off the alarm and open global radar, I want to have a look what object is so unlucky that being treated as prey by the master computer this time, is it a big brick on the tramp or garbage bag chunked out by other airship.

Radar surveying as well as mapping image are molding quite quickly and the picture on the screen greatly surprises me. Unimaginable, there is large can floating in the air where is about 20000 meters away. I rubbed my eyes and watch the screen carefully again. It is true!

I can not believe the Coca-Cola Company has the ability to put their advertisement and propaganda into such a remote place. So I zoom in the radar resolution and then I find that cylindrical object actually is a standard space vehicle.

Probably that aircraft has something problem, I think.

Based on the principle of peaceful coexistence and mutual benefit, I decide to help it and this is also the purpose why the superior gives me this errand.

Once the Earth Military researches some new ships, they will always go into outer space as the name of circle cruise trials in order to show off. Despite of imaginings, gradually we have close to it. I operate the airship to open its three doors of recycling capsule respectively. Four manipulators firmly dragged it into spacecraft and the nanny robot pulls it to me after radiation disinfection.

As a space vehicle, I have never seen such a small product and delicate design. The whole cylinder is approximately 80cm in diameter, 200cm in length. The appearance is smooth and there is nothing protuberant on it, emitting light metal glow from the dark command module.  Surprisingly there is completely without any power nozzles device. Does not it use gravity transformation traction system?

I totally can not believe it since the Emergency Asylum System will consume a large number of energy sources and how could it solve the problem in such a small metal can. Obviously, it must be in an advanced civilization which is absolutely beyond the earth science and technology level.

I lightly knock the surface of this small airship which also should be the universal greeting language as same as nod. However after several times there is nothing reactive in it. I wait patiently for a while and there is also no reaction. I am nervous and afraid of pilot’s safety. Does not it have died? Immediately I look for some tools to pry the shuttle's hatch whereas there is nothing useful expect for a screwdriver less than three inches long. I order the robot to pen but it totally can not understand my means since there are only “repair” and “take care” in its system menu. It is really stupid to speak to a machine.

I find it is hard to cope with this higher civilization device with my limited intellectual level. Maybe I stay in the airtight spacecraft too long and have got mild space anxiety disorders. In repeatedly tried and failed I give the cylinder strong kicks. It could be I touched something on it and suddenly the hatch is opening.   

Typical Two-Shots

The most dramatically interesting medium shot is the two-shot, in which two players con front each other and exchange dialogue. The two-shot originated in Hollywood, and is known in France, Italy and Spain as the "American-shot." A famous director has stated: "Regardless of the size of the picture, whether it boasts a cast of thousands or a modest number, the action always winds up in a two-shot featuring boy and girl, hero and villain, or hero and his buddy."

There are numerous variations of the two-shot. The most widely used, but not always the most pictorially interesting, is that in which both players sit or stand facing each other with their profiles to the lens. Young people with clean-cut profiles and good necklines will generally photograph well. Older persons with jowls, puffy faces or double chins should seldom be filmed in profile. The main problem with the profile two-shot is that neither player can dominate the composition if each is equally well lighted. Dominance is achieved through dialogue, action or favorable lighting, which captrues audience attention at the expense of the less favored player.

Two-shots may be angled and played in depth, so that nearest player is turned slightly away from the camera and the farther player positioned so that he is filmed in a three-quarter angle. Or, one player may appear in profile and the other in a three-quarter angle or facing the camera.

There is an unusual variation of the two-shot in which both players face the camera: the nearer player looks off screen while the farther player looks at the nearer player's back. This allows both players to be filmed facing the camera, in a single shot. Although it saves additional camera set-up, it is dramatically inadequate because the players do not truly relate with each other. One is dreamily looking away, while the other seems to be trying to get his attention, such as:

The picture is from "lifed" made by Pixar in 2006.

The picture is from The Five C's of  Cinematography.

For instance, like the picture above, typical profile boy-girl seated two-shots. Neither player dominates the scene from composition or lighting standpoint. Each player dominates in turn, as he or she speaks or performs an action that captures audience attention. Eye appeal is lessened in a profile shot.

Reference:

Mascelli, J. V. (1965). The Five C's of  Cinematography. The United States: radstone publications.

Three Factors of Camera Angle- Subject Size

The image size, the size of the subject in relation to the over-all frame, determines the type of shot photographed. The size of the image on the film is determined by the distance of the camera from the subject, and the focal length of lens used to make the shot. The closer the camera; the larger the image. The longer the lens; the larger the image. The converse is also true.

Image size may vary during the shot by moving the camera, moving players, or employing a zoom lens. The camera may pan or dolly so that the subject is brought closer to or further away from the lens. The players may move toward or away from the camera. The zoom lens may be varied in focal length as the scene progresses. Thus, a long shot may graduate into a close-up; a close-up become a long shot, in a single shot.

Extreme long shot

An extreme long shot depicts a vast area from a great distance. It may be used whenever the audience should be impressed with the huge scope of the setting or event. An extremely wide angle static shot is usually more adaptable for extreme long shots than is a panning camera movement. The pan should be employed only when it increase in interest, or reveals more of the setting or action, as it progresses. The static shot should be used whenever a map type shot, which establishes the geography of the locale, is desirable. Extreme long shots are best filmed from a high vantage point, such as a high camera platform, the top of a building, a hilltop or a mountain peak; or from an airplane or helicopter. A large ranch, a farm, a city skyline, an industrial complex, a mountain range; or a mass movement such as a cattle drive, a ship convoy or a moving army, may be very impressive as opening shots to introduce a sequence or to begin a picture. Such massive shots set the scene for what follows by putting the audience in the proper mood, and providing them with the over-all picture before introducing characters and establishing story line. Whenever possible, extreme long shots should be filmed to open up the picture on a grand scale, and capture audience interest from the start.

Long shot

A long shot takes in the entire area of action. The place, the people, and the objects in the scene are shown in a long shot to acquaint the audience with their over-all appearance. A long shot may include a street, a house, or a room, or any setting where the event takes place. The long shot should be employed to establish all elements in the scene, so that viewers will know who is involved, where they are located as they move about, and when seen in closer shots as the sequence progresses.

Medium shot

A medium shot may be better defined as an intermediate shot because it falls between a long shot and a close-up. Players are filmed from above the knees, or from just below the waist. While several players may be close enough to record with clarity their gestures, facial expressions and movements.

Reference:

Mascelli, J. V. (1965). The Five C's of  Cinematography. The United States: radstone publications.

All of pictures are from "lifted" made by Pixar in 2006.

learning agreement final

Aim:

By researching lighting design, I hope to get a comprehensive understanding about how to apply it to 3D animation to improve storytelling in terms of shaping the space, molding characters emotions within their role and rendering the appropriate atmosphere for a scene. My aim is to develop the expressive power with a 3D animation’s narrative.

I will also research cinematography related to lighting design. Through this I wish to heighten the audience’s understanding of the narrative and their enjoyment of the piece.

Using this understanding I will make an animated narrative piece of work which will be approximately three minutes in length.

Brief description of your project:

Central concern of the project:

My project is to understand and research Lighting Design and Cinematography in Three-Dimensional Animation and then apply them into my animation which will be approximately three minutes. From my research, I hope I can comprehensively understand these theories and correctly put them into use, which could improve 3D animation’s storytelling in terms of lighting distribution, intensity, lighting color, lighting angle, shadow, camera angle as well as composition. It is necessary to use them appropriately to heighten the audience’s understanding of the narrative and their enjoyment of the piece.

Scope:

My project will be researched in terms of lighting distribution, lighting intensity, lighting color, lighting angle, shadow, camera angle as well as composition.

Relevance:

{It is the balance between dramatic lighting and accurate lighting that is the focus of my study} how to apply lighting that is accurate enough to convince the audience of it reality with sufficient drama to enhance the narrative. Lighting helps the audience understand the predicament of character within a narrative and therefore heightens their emotional involvement with the story.

Learning outcomes:

LO1:

Demonstrate an understanding of Lighting Design within 3D Animation and apply it in the development of a shot animated project.

LO2:

Demonstrate an understanding of cinematography within 3D Animation and it placed in relation to story telling.

LO3:

Demonstrate an understanding of audience and their relationship to the narrative within 3D Animation and how lighting design and cinematography could enhance their experience.

Types of Camera Angles_ Point-Of-View Camera Angles

I have introduced objective camera angle and subjective camera angle before, and now I will talk about the last type of camera angle--point-of-view.

Point-of-view, or simply p.o.v., camera angles record the scene from a particular player's view-point. The point-of-view is an objective angle, but since it falls between the objective and subjective angle, it should be placed in a separate category and given special consideration.

A point-of-view shot is as close as an objective shot can approach a subjective shot-- and still remain objective. The camera is positioned at the side of a subjective player- whose viewpoint is being depicted- so that the audience is given the impression they are standing cheek-to-cheek with the off-screen player. The viewer does not see the event through the player's eyes, as in a subjective shot in which the camera trades places with the screen player. He sees the event from the player's viewpoint, as if standing alongside him. Thus, the camera angle remains objective, since it is an unseen observer not involved in the action. An on-screen player looking at the player whose view-point is depicted, looks slightly to the side of the camera- not into the lens, like picture 02.

"Presto.BDRE." made by Pixar in 2008. 01

"Presto.BDRE." made by Pixar in 2008. 02

Point-of-view shots may be used whenever it is desirable to involve the viewer more closely with the event. The audience steps into the picture, so to speak, and sees the players and the setting from the viewpoint of a particular player- by standing beside him. This creates a stronger identity with the screen player in the action, and provides the viewer with a more intimate glimpse of the event.

The shots often follow over-the-shoulder shots, when a pair of players face each other and exchange dialogue. Each player may be seen from the opposing player's point-of-view.

Reference:

Mascelli, J. V. (1965). The Five C's of  Cinematography. The United States: radstone publications.

All of pictures are from "Presto.BDRE." made by Pixar in 2008.