#58 - Animation - Camera Angles
I would like to talk about the camera angles I have used throughout my animation, now that I have reached the thirty second limit (at least unless I edit the timings). I am confident that the animation follows the camera angles and timings written in the storyboard, which contains eight separate scenes.
The beginning of the animation certainly matches the storyboard. It consists of a close-up shot of the Invisible Hand, which moves beneath the camera like a shark. The close up shot is used to give a sense of scale, and show how big, and how dangerous the ship is. The viewer should realise that the Invisible Hand is the antagonist right away.
The seconds scene follows on quite nicely with a long-shot of the Venator Destroyer closing in on the Invisible Hand, preparing to fire the EMP. The distance from the camera reinforces the scale of the whole space being used for the scene. Obviously the ships are quite big, and it is a large scale attack over a wide area in space. The way the camera pans round to show firstly the Venator and then the Invisible Hand as well shows just how big the distance between them is, and also sets up the EMP blast very nicely.
Once the EMP blast fires (it doesn't actually fire yet, but the camera angle has the same effect) the camera zooms in on the hangar of the Invisible Hand. This gives the viewer a close up of the action that results from the EMP blast, and suggests to them that this is a really important part of the narrative, hence the close up. Once the hangar shield drops and the debris flies out, the camera zooms in again on the Jedi Star Fighter underneath the ship. This is initially an extreme close up and this expands on the importance of the hangar shot by telling the viewer that there is actually something even more important at play, and that is the fact that the Star Fighter is in stealth mode and is the main problem for the Invisible Hand.
Once the Star Fighter is in the hangar, the Invisible Hand moves further away from the camera, allowing for a medium-long shot which shows the scale and distance of the warp jump the Invisible Hand performs. This shot also allows the camera to pan in any direction, perhaps towards a big start, to end the shot nicely with a subtle tension. The narrative is left open. Clearly the shot of the Jedi Star fighter needs a back light to make it visible.
Overall, I am very happy with the camera angles I currently have, and they all follow the storyboard exactly. I may have to alter them of course but if not then they are sufficient anyway. One thing I might have done differently if I was starting again anyway is adjust the distance between the models and try to expand the camera objects depth to fit them all in, and create an even grander scale, but unfortunately it is too late for that this time. Also, the effects such as sound and lighting which will really provide the camera angles with class are not yet included, but hopefully they will be in time. The main thing is that the storyboard has been followed and therefore the camera angles are successful.
The beginning of the animation certainly matches the storyboard. It consists of a close-up shot of the Invisible Hand, which moves beneath the camera like a shark. The close up shot is used to give a sense of scale, and show how big, and how dangerous the ship is. The viewer should realise that the Invisible Hand is the antagonist right away.
The seconds scene follows on quite nicely with a long-shot of the Venator Destroyer closing in on the Invisible Hand, preparing to fire the EMP. The distance from the camera reinforces the scale of the whole space being used for the scene. Obviously the ships are quite big, and it is a large scale attack over a wide area in space. The way the camera pans round to show firstly the Venator and then the Invisible Hand as well shows just how big the distance between them is, and also sets up the EMP blast very nicely.
Once the EMP blast fires (it doesn't actually fire yet, but the camera angle has the same effect) the camera zooms in on the hangar of the Invisible Hand. This gives the viewer a close up of the action that results from the EMP blast, and suggests to them that this is a really important part of the narrative, hence the close up. Once the hangar shield drops and the debris flies out, the camera zooms in again on the Jedi Star Fighter underneath the ship. This is initially an extreme close up and this expands on the importance of the hangar shot by telling the viewer that there is actually something even more important at play, and that is the fact that the Star Fighter is in stealth mode and is the main problem for the Invisible Hand.
Once the Star Fighter is in the hangar, the Invisible Hand moves further away from the camera, allowing for a medium-long shot which shows the scale and distance of the warp jump the Invisible Hand performs. This shot also allows the camera to pan in any direction, perhaps towards a big start, to end the shot nicely with a subtle tension. The narrative is left open. Clearly the shot of the Jedi Star fighter needs a back light to make it visible.
Overall, I am very happy with the camera angles I currently have, and they all follow the storyboard exactly. I may have to alter them of course but if not then they are sufficient anyway. One thing I might have done differently if I was starting again anyway is adjust the distance between the models and try to expand the camera objects depth to fit them all in, and create an even grander scale, but unfortunately it is too late for that this time. Also, the effects such as sound and lighting which will really provide the camera angles with class are not yet included, but hopefully they will be in time. The main thing is that the storyboard has been followed and therefore the camera angles are successful.
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