When we arrived back in Ilkley more after a faster trip, given we were more familiar with the way there now, we noticed it was much better weather, accurate to the weather forecast checked on earlier. We went back to our previous location, discussed what we would be filming, and began without much hassle. As the day progressed, we recieved some nice weather, and I think we all appreciate how lucky we were to get such good footage in our shots. It was described as having all four seasons, as we had filmed both the dull dampness of autumn, the cold of winter, the brightness of spring and the sunlight of summer towards the end of the film.
We also used the boom pole microphone to record dialogue audio, and we had to be careful with what we filmed soundwise. I decided if necessary I would make use of the BBC sound library to fill in what we couldn't get.
The 'fight scene' we conducted took many takes from many different angles though in my own opinion, upon reflection, I would have wanted more. Still, working with what we had, I think we achieved a good result. We had a lot of footage and I thought perhaps that the fight scene might need to be scrapped and we could change the film's plot slightly into something that was still narrative driven but not as abstract, but with enough post production we found workaround and brought the overall length of the film closer to 2 minutes.
I played my part in arranging the artstyle and cinematography of the second film a little more than the first one. In the first film I was always acting and could never see the shots until they were made, or have them set up using someone else to model for the shot. In the second film though I was not infront of the camera until the second day of shooting, and was able to hold the camera and take a few of the shots myself, as well as the normal arranging of my own shots.
I worked in respect with Tim's storyline and consistantly referred to what happens in the storyboard, what angle and at what distance this scene must be shot, and why this specific shot would work well when followed by the next shot. I would like to think that at some point we often thought about shots in their pairs, and would not consider the first without also considering what would happen after, analysing whether it would look strange or out of place in comparison to other shots used throughout the rest of the film. We also captured the same scene using many different shots and camera angles, as demonstrated with the fight scene at the end, but more subtley so when the character I play extends a hand towards Tim's character in order to help him off the ground.
Tuesday, 31 January 2012
Starting to Film, Again
When starting film number 2, we decided to begin filming on a friday we had off, following a storyboard also composed by another one of the group members. I felt it would have been a good idea to film during the week and make use of the time but was comfortable to film on the friday regardless, even though I had some plans to hand in some papers regarding my new residence next year.
I wanted to make use of the scenery with a long distance landscape shot of the scenery and had the idea of turning it into a timelapse, by speeding up the clip. I didn't want to spend too long filming them though as we would likely only end up using a few seconds of the clip and worked by percentages. For example, taking 30 seconds of footage and speeding it up by 100% would make it last 15 seconds long. If we wanted it at 200%, it would last 7.5 seconds long.
I consistently referred to Tim, the storyboarder, as to what approaches we would take. We had both worked on the script for the dialogue earlier on in the day and refined it, changing out some words and replacing some lines as well as setting down the choreography for a fight scene that would take place later on. I brought up the idea of introducing a sound effect to make my voice sound more ghostly, as to avoid the same criticism we received in our first film in the concept of anchoring meaning to an actor's role. I wanted some of the wildlife and foilage in the shots, plants and such, and a distinct switch between long-shot and close shot in order to establish the remoteness of the location.
Later on, our story boarder and simultaneous lead actor for this particular film Tim had to feign falling over and passing out from the cold. I suggested earlier that he breath into his hands and mimic typical behaviour one does when they are cold. We took many shots of this and it took a while to get a result I would agree with. Some of the takes looked too scripted and too acted, e.g and I eventually decided to call out to Tim some suggestions of what to do whilst collapsing. All this involved was telling him to drop the bottle he was holding as he fell, rather than before he fell, fold his arms as if struggling for warmth and eventually fall over.
I tried to resolve any creative conflicts via voting or agreement. If two people agreed with a shot whilst another was unsure, we would go with ahead with the shot, as I did not want to delay filming for reasons even they aren't sure of. If there is still some disagreements, we carry out practice shots, live shots, and re-watch the footage and analyse it, and if necessary, compare it to another shot or angle to decide which to use. In some situations we will agree to make some decisions later on, but in the case that they don't, we usually decide there and then what shot we will end up using.
I knew that since in this film there were certain things we wanted to portray; the character Tim was playing would descend into a weaker state of mind and health, until he became so dizzy and cold that he passed out. I portrayed this through the use of specific shots that would portray this, such as the tilted shot close to the ground, progressively shakier camera and handheld shots. Some of these involved me carrying the camera whilst walking backwards, unable to see where I was going. Another suggested shot for the same clip was for Tim to walk along holding the camera infront of him, but I thought it would be easier on the actor and have a better degree of accuracy than Tim trying to hold it infront of him whilst keeping it pointed at his face. The idea of the shot was to keep Tim's head in the center whilst the world around him moved. I liked the concept of the shot and I have seen it used before, and for what it was being applied to, it was being used for, would have been good. But the effect we achieved when we tried the same thing was not of the same caliber.
Our post-production editor had a car, which was doubtless a great asset which I think we made good use of. We drove up to Ilkley Moor for the shoot and decided we would try and film it all on the same day. Things went well, and the weather was appropriate for a fim based on a poem named 'Sulking Winds'. We got some good footage and only had occasional problems with shots such as pedestrians, climbers, the rain getting on the lens and other problems which worsened.
The weather got very cold, very windy and very wet. We were all practically freezing to death and we didn't want to risk the equipment getting damaged so we packed up, and since the weather looked like it wasn't going to stop any time soon, decided to head back and resume filming on the monday after the weekend.
On reflection it was definitely an interesting day of filming and quite an experience. The footage, upon viewing, we decided was well worth the effort and much more fitting and appropriate to what we were filming.
I wanted to make use of the scenery with a long distance landscape shot of the scenery and had the idea of turning it into a timelapse, by speeding up the clip. I didn't want to spend too long filming them though as we would likely only end up using a few seconds of the clip and worked by percentages. For example, taking 30 seconds of footage and speeding it up by 100% would make it last 15 seconds long. If we wanted it at 200%, it would last 7.5 seconds long.
I consistently referred to Tim, the storyboarder, as to what approaches we would take. We had both worked on the script for the dialogue earlier on in the day and refined it, changing out some words and replacing some lines as well as setting down the choreography for a fight scene that would take place later on. I brought up the idea of introducing a sound effect to make my voice sound more ghostly, as to avoid the same criticism we received in our first film in the concept of anchoring meaning to an actor's role. I wanted some of the wildlife and foilage in the shots, plants and such, and a distinct switch between long-shot and close shot in order to establish the remoteness of the location.
Later on, our story boarder and simultaneous lead actor for this particular film Tim had to feign falling over and passing out from the cold. I suggested earlier that he breath into his hands and mimic typical behaviour one does when they are cold. We took many shots of this and it took a while to get a result I would agree with. Some of the takes looked too scripted and too acted, e.g and I eventually decided to call out to Tim some suggestions of what to do whilst collapsing. All this involved was telling him to drop the bottle he was holding as he fell, rather than before he fell, fold his arms as if struggling for warmth and eventually fall over.
I tried to resolve any creative conflicts via voting or agreement. If two people agreed with a shot whilst another was unsure, we would go with ahead with the shot, as I did not want to delay filming for reasons even they aren't sure of. If there is still some disagreements, we carry out practice shots, live shots, and re-watch the footage and analyse it, and if necessary, compare it to another shot or angle to decide which to use. In some situations we will agree to make some decisions later on, but in the case that they don't, we usually decide there and then what shot we will end up using.
I knew that since in this film there were certain things we wanted to portray; the character Tim was playing would descend into a weaker state of mind and health, until he became so dizzy and cold that he passed out. I portrayed this through the use of specific shots that would portray this, such as the tilted shot close to the ground, progressively shakier camera and handheld shots. Some of these involved me carrying the camera whilst walking backwards, unable to see where I was going. Another suggested shot for the same clip was for Tim to walk along holding the camera infront of him, but I thought it would be easier on the actor and have a better degree of accuracy than Tim trying to hold it infront of him whilst keeping it pointed at his face. The idea of the shot was to keep Tim's head in the center whilst the world around him moved. I liked the concept of the shot and I have seen it used before, and for what it was being applied to, it was being used for, would have been good. But the effect we achieved when we tried the same thing was not of the same caliber.
Our post-production editor had a car, which was doubtless a great asset which I think we made good use of. We drove up to Ilkley Moor for the shoot and decided we would try and film it all on the same day. Things went well, and the weather was appropriate for a fim based on a poem named 'Sulking Winds'. We got some good footage and only had occasional problems with shots such as pedestrians, climbers, the rain getting on the lens and other problems which worsened.
The weather got very cold, very windy and very wet. We were all practically freezing to death and we didn't want to risk the equipment getting damaged so we packed up, and since the weather looked like it wasn't going to stop any time soon, decided to head back and resume filming on the monday after the weekend.
On reflection it was definitely an interesting day of filming and quite an experience. The footage, upon viewing, we decided was well worth the effort and much more fitting and appropriate to what we were filming.
Continuing to Film
At the start of the day we learned that we may not be able to get ahold of the camera we used last time we filmed, but was also integral and key to the film. I learned that it is not good to rely so heavily on a prop that we do not have access to 100% of the time, as it basically falls down to coincidence whether we could film it or not. Fortunately, we were able to obtain it.
When we began filming again, we noticed we were low on battery and production was immediately put on hold so that we could charge the camera's battery. We learned there and then that it was worth checking the camera's battery way before actually filming, and ensuring to put it on charge, as it could have easily charged overnight and saved us all some hassle. We summarised we had to let it charge for at least 1 and a half hours, and since we had to hand the camera back at 4 in the evening, our time was limited. We sat down and went into some more detail about the scenes we would film. In the previous day we had many many shots and takes of each scene, and it was not something we could repeat with the levels of battery we were going to film with. We brought up a set of rules, to turn the camera off after each shot and only take each scene a maximum of 3 times, so we needed everything we could to be perfect. It didn't start off too well, many taxis were parked outside and there were lots of pedestrians. We asked some taxis to temporarily relocate and also waited for pedestrians to move before we started filming some scenes, picking up where we left off the next day.
When we got to Hyde Park there were some more discussions about possible good shots, although I insisted we stick to the plan we had so we don't run off on ideas we -might- use, and instead get all the footage we definitely need before the camera runs out of battery or we need to head back. Any ideas that were quick and easy to film were done though, if they contributed a level of cinematic value.
In some shots I forgot to take off the lens cap, meaning we could not use any shots where the lens would point at the camera. It was a silly mistake to make, but it does reinforce that even silly mistakes like this can have a big impact on what footage you could use without purposely utilizing clips with a continuity error.
In the end we got all the footage we wanted, though perhaps not as in detail and as well executed as we had obtained on the first day, where we had more time, as much battery as we wanted with on-scene access to a charger, and no need to carry the equipment round as much.
When we watched films at the crit I noticed in comparison to the other films, we had used a lot more shots.
The primary feedback we got was that in the shot at the end, we needed to anchor some meaning to the fact that the only other person in the film was in fact a ghost of the main character's former protagonists best friend. I agree upon reflection that not enough was done with what footage we had to portray it the way we intended, although we were quite constricted for time when filming. I plan to introduce some footage or pictures of us in a similar way to the appropriately named 'Marvel style intro' at the start so that they are interpreted as a flashback and the audience becomes aware of what the character is thinking in the shot, and can establish that the other character we see in the vanish in the shot is the same deceased person we saw in the flashbacks.
When we began filming again, we noticed we were low on battery and production was immediately put on hold so that we could charge the camera's battery. We learned there and then that it was worth checking the camera's battery way before actually filming, and ensuring to put it on charge, as it could have easily charged overnight and saved us all some hassle. We summarised we had to let it charge for at least 1 and a half hours, and since we had to hand the camera back at 4 in the evening, our time was limited. We sat down and went into some more detail about the scenes we would film. In the previous day we had many many shots and takes of each scene, and it was not something we could repeat with the levels of battery we were going to film with. We brought up a set of rules, to turn the camera off after each shot and only take each scene a maximum of 3 times, so we needed everything we could to be perfect. It didn't start off too well, many taxis were parked outside and there were lots of pedestrians. We asked some taxis to temporarily relocate and also waited for pedestrians to move before we started filming some scenes, picking up where we left off the next day.
When we got to Hyde Park there were some more discussions about possible good shots, although I insisted we stick to the plan we had so we don't run off on ideas we -might- use, and instead get all the footage we definitely need before the camera runs out of battery or we need to head back. Any ideas that were quick and easy to film were done though, if they contributed a level of cinematic value.
In some shots I forgot to take off the lens cap, meaning we could not use any shots where the lens would point at the camera. It was a silly mistake to make, but it does reinforce that even silly mistakes like this can have a big impact on what footage you could use without purposely utilizing clips with a continuity error.
In the end we got all the footage we wanted, though perhaps not as in detail and as well executed as we had obtained on the first day, where we had more time, as much battery as we wanted with on-scene access to a charger, and no need to carry the equipment round as much.
When we watched films at the crit I noticed in comparison to the other films, we had used a lot more shots.
The primary feedback we got was that in the shot at the end, we needed to anchor some meaning to the fact that the only other person in the film was in fact a ghost of the main character's former protagonists best friend. I agree upon reflection that not enough was done with what footage we had to portray it the way we intended, although we were quite constricted for time when filming. I plan to introduce some footage or pictures of us in a similar way to the appropriately named 'Marvel style intro' at the start so that they are interpreted as a flashback and the audience becomes aware of what the character is thinking in the shot, and can establish that the other character we see in the vanish in the shot is the same deceased person we saw in the flashbacks.
Beginning to Film
After the instructional videos we were asked what roles we preferred when making the videos. Divided into post production, director, producer, camera and storyboarding, I joined a group as a director willing to act in the films. I did this for two reasons. Firstly, I would like to think I can make decisions quickly and work to get the most out of a situation and take whatever opportunities I could get. I trust myself more than other people to make decisions that will be beneficial but not necessarily always the best decision. Secondly I have acted for film projects before, namely in college for a friend's film studies project.
I consult with the rest of the group often and tried to encourage collaboration, e.g everyone creating and discussing a storyboard, carrying out a SWOT (strengths, weaknesses, opportunities and threats) analysis, and make joint decisions on the art direction whilst referring to the storyboard and the storyboard artist. Compromises were made every so often but I feel the end result to what we will get done is beyond what I or any one person could achieve on their own.
The storyboard I suggested was this, but in the end we decided to go with another groupmember's storyboard in pursuit of a more narrative driven storyline after feedback from other course members. We produced each storyboard by taking the most important words out of the most important lines in the poem and agreed that we would build our scenes to reflect the themes within these words.
We developed the storyboard we chose with scene explanations and how we might portray them as I did with mine.
I consult with the rest of the group often and tried to encourage collaboration, e.g everyone creating and discussing a storyboard, carrying out a SWOT (strengths, weaknesses, opportunities and threats) analysis, and make joint decisions on the art direction whilst referring to the storyboard and the storyboard artist. Compromises were made every so often but I feel the end result to what we will get done is beyond what I or any one person could achieve on their own.
The storyboard I suggested was this, but in the end we decided to go with another groupmember's storyboard in pursuit of a more narrative driven storyline after feedback from other course members. We produced each storyboard by taking the most important words out of the most important lines in the poem and agreed that we would build our scenes to reflect the themes within these words.
We developed the storyboard we chose with scene explanations and how we might portray them as I did with mine.
Letter of Request for Liberty Park
Whilst filming for our first film project at my student residence at Liberty Park, we were spotted by staff who alerted me to the fact that written permission was needed to film on location. Naturally, I assumed this was so the student accodation knew that what we were filming would not misrepresent the residence in any way they would not agree with. We spoke with the administrator and learned that the film should not contain any sex, drugs, or violence. As our film involved no such themes, I composed this letter and earned permission from the administrator to film on sight. I took it upon myself to sort this out.
I also obtained a copy of the agreement of loaning equipment from the college to give the the administrator as well so that they were assured they would not be held accountable if any of it were broken there.
This wasn't something I was aware of during my instructional video, but as that video contained none of those themes either, no harm done I suppose.
In development of a first year (Level 4) film project at the Leeds College of Art, I am requesting permission to capture and record film footage of the Liberty Park student accommodation. The film is 2 minutes long and will be based on a poem, and will not contain any themes of sex, drugs, violence or any inappropriate behaviour that will represent Liberty Park in a negative manner. The equipment is loaned from the college and as such the filming group are responsible for it’s safekeeping and maintaining condition.
I also obtained a copy of the agreement of loaning equipment from the college to give the the administrator as well so that they were assured they would not be held accountable if any of it were broken there.
This wasn't something I was aware of during my instructional video, but as that video contained none of those themes either, no harm done I suppose.
In development of a first year (Level 4) film project at the Leeds College of Art, I am requesting permission to capture and record film footage of the Liberty Park student accommodation. The film is 2 minutes long and will be based on a poem, and will not contain any themes of sex, drugs, violence or any inappropriate behaviour that will represent Liberty Park in a negative manner. The equipment is loaned from the college and as such the filming group are responsible for it’s safekeeping and maintaining condition.
Sincerely
Joel McCusker
Instructional Video
For the first part of the module in preparation for realising what role I would like to play in the production of films I would be making of later on, we were to produce a one minute long instructional video on whatever subject we wished. I made my video on how to prepare a curry using a recipe I had improved earlier on in the fortnite and felt it would not be overly challenging to film in terms of location, and would allow me to focus more on shots, cinematography, and take into account variables such as lighting whilst eliminating other possible obstructions such as weather conditions.
I asked my flatmate to film and basically told her what I would be doing. I said that I would not be recording sound, believing I would use a soundtrack in place of the video sound. However, I did use the video sound, albiet at a quieter level. I had the shots focused mostly on the hands and had text to detail any necessary information about what I was doing, e.g which ingredients to cut and how to cut them, and how long to cook the ingredients for (roughly). Curry is fairly simply to make and my own recipe was no exception.
I asked my flatmate to film and basically told her what I would be doing. I said that I would not be recording sound, believing I would use a soundtrack in place of the video sound. However, I did use the video sound, albiet at a quieter level. I had the shots focused mostly on the hands and had text to detail any necessary information about what I was doing, e.g which ingredients to cut and how to cut them, and how long to cook the ingredients for (roughly). Curry is fairly simply to make and my own recipe was no exception.
Some feedback I got on the video was that some of the handheld shots I took without the tripod were quite shaky. I agreed and acknowledged that I should keep the camera zoomed out when handheld to reduce the shakiness of the shot, or simply have the camera brought around on the tripod. However, I also insist that the shots were viable, useful and informative. I received some questions on why I included the sound of people talking in the background.
I explained it was to give the video a less professional, ameteur portrayal of my cooking and reflect my home life. I made the video somewhat comedic, e.g pop culture phrases such as 'like a boss'and 'epic success'. This was purely to make uncomplicated actions and procedures seem overly rewarding and dramatic. The video had an informal feel to it which was my original concept. I also kept the sound of the food being fried in order to make the food seem appetizing, which I think worked quite well considering I get hungry every time I watch it.
I know the video is far from perfect I recieved some good comments and feedback via anonymous and various internet users and subscribers to my YouTube account. Some were impressed by it and were not aware that this project has in fact been my first real attempt at editing a video.
Saturday, 28 January 2012
3D Animation - The Gift
http://www.snotr.com/video/8481/The_Gift
Undoubtedly one of my new favourite short films, realistic 3D animation is introduced into a real environment setting. By Carl Erik Rinsch, The narrative is constantly kept me questioning, curious, guessing and assuming, and the setting is introduced early through the appearance of a robotic dog, suggesting it takes place in the future. I found it all very well portrayed, in respect of both the cinematography and the soundtrack.
It it is a very sincere and realistic animation and despite being short, gave me the cinematic experience that I mentioned in the last short I watched, The Incident at Tower 37. This may be because the animation better fits in to a real life scenario and can be described as more mature because of the content.
It has a lot of action and is a very impressive example of utilizing 3D animation in a real world environment. The narrative revolves around an object, and we never truely learn what it is or what it does, but only that it is of great value to whoever owns it. Whilst the film isn't driven entirely by the narrative, I do find the mysterious nature of it very intriguing as audience are left to their own devices of whether to establish what characters are the good ones and which are the bad ones.
Undoubtedly one of my new favourite short films, realistic 3D animation is introduced into a real environment setting. By Carl Erik Rinsch, The narrative is constantly kept me questioning, curious, guessing and assuming, and the setting is introduced early through the appearance of a robotic dog, suggesting it takes place in the future. I found it all very well portrayed, in respect of both the cinematography and the soundtrack.
It it is a very sincere and realistic animation and despite being short, gave me the cinematic experience that I mentioned in the last short I watched, The Incident at Tower 37. This may be because the animation better fits in to a real life scenario and can be described as more mature because of the content.
It has a lot of action and is a very impressive example of utilizing 3D animation in a real world environment. The narrative revolves around an object, and we never truely learn what it is or what it does, but only that it is of great value to whoever owns it. Whilst the film isn't driven entirely by the narrative, I do find the mysterious nature of it very intriguing as audience are left to their own devices of whether to establish what characters are the good ones and which are the bad ones.
3D Animation - The Incident at Tower 37
http://www.snotr.com/video/7271/The_Incident_at_Tower_37
Using this website has been a great resource for me and I managed to find another hidden gem amongst 3D animations. This short by '10 bit Films' is noticeable more focused on cinematography to tell the story and it agreeably tells a subtle message. The animation is credited primarily to Chris Bishop and Harry Thompson, as well as seven other animators. I found it well animated and the quiet sound of the animation made it somewhat tense and I found myself in a state of consistant curiosity. Because of the lack of dialogue, the character actions, facial expressions and soundtrack are paramount for telling the story. The narrative is somewhat slow to understand but I don't agree that the animation is dragged out unnecessarily. The length of the animation is perhaps one of my favourite things about it. The planning and investment that go into producing longer animations mean that it will be very well considered.
Whilst I don't say that to imply that shorter films are rushed and untidy, longer animations have a more cinematic experience. It also means that the story is more in-depth, and I would rather watch an animation with a well thought out story that will stay with me for a while, rather than leave me slightly amused for a small period of time before I disregard it.
Using this website has been a great resource for me and I managed to find another hidden gem amongst 3D animations. This short by '10 bit Films' is noticeable more focused on cinematography to tell the story and it agreeably tells a subtle message. The animation is credited primarily to Chris Bishop and Harry Thompson, as well as seven other animators. I found it well animated and the quiet sound of the animation made it somewhat tense and I found myself in a state of consistant curiosity. Because of the lack of dialogue, the character actions, facial expressions and soundtrack are paramount for telling the story. The narrative is somewhat slow to understand but I don't agree that the animation is dragged out unnecessarily. The length of the animation is perhaps one of my favourite things about it. The planning and investment that go into producing longer animations mean that it will be very well considered.
Whilst I don't say that to imply that shorter films are rushed and untidy, longer animations have a more cinematic experience. It also means that the story is more in-depth, and I would rather watch an animation with a well thought out story that will stay with me for a while, rather than leave me slightly amused for a small period of time before I disregard it.
Sunday, 15 January 2012
Tekken 5 vs Tekken 6
The sequel to a game is often anticipated expected to surpass the last, the same counts with films, and various other forms of media. However, this is not the case every time, as many games today are still compared with the original on whether it has improved or decreased in it's quality and worth the investment of time to play, or two previous games, especially with titles such as Call of Duty - as developers learn from the mistakes of their last time and invent new ideas and concepts to introduce. However, these ideas can often be flawed, criticized, and is avoided or fixed with another flawed idea - a process which repeats itself.
When comparing Tekken 5 to Tekken 6, there are noticeable differences, both good and bad. I have been a fan of the Tekken series for a long time, having played Tekken 2 and the original Tekken game in my youth.
When comparing Tekken 5 to Tekken 6, there are noticeable differences, both good and bad. I have been a fan of the Tekken series for a long time, having played Tekken 2 and the original Tekken game in my youth.
One undeniable difference between the two games is the graphics level. I acknowledge that graphics only contribute a realistic or stylised aesthetic (as has been done with the recent Street Fighter series), but Tekken 6 looked great whilst you played it when compared to Tekken 5. Tekken 5 loaded much quicker and so during the time I had to play it, I got more games out of it because Tekken 6 took much longer to load. It was a trade-off, really; I could play more games and have more fights if I substituted the graphics and extra features Tekken 6 offers, which begs the question of whether or not this trade-off is worth it.
The fights in Tekken 6 are more in depths; the levels are better in terms of atmosphere and scenario, there are extra features such as extended character customisation and itemisation, more combos, characters and is generally a more developed version of Tekken 5. You get more per game in 6 than you do with 5, although if you're only really concerned with beating up your mates than perhaps the earlier version of the game is the better one; if you don't mind missing out on the collapsing levels and abusing the scenery in the sequel game.
3D Animation - The Saga of Bjorn
http://www.snotr.com/video/7243/The_Saga_of_Biorn
A short film by 'The Animation Workshop', I liked it because of the artstyle and narrative, as well as how the story of the character was told. The artstyle is similar to some other animations I have seen before but I feel this is the best example of portraying 3D animation in an almost 2D way. In comparison to 2D animation that I typically prefer, on a personal note, I like it a lot. However, it doesn't have the seem artistic touch as 2D animations typically do, even if the animation itself is very well stylised. The cinematography in the animation is nothing that cannot already be expected, but I still like it an awful lot. All the shots are well composed and I can almost picture the storyboard myself, picking out minor details that contribute a great deal. Some of the shots used arguably are the best choice for contorting the particular ideas the animators with to portray. The music and soundtrack were also well composed and used. The sound in an animation often contributes more than most people can appreciate or realise, as it sets the atmosphere and can can highlight or emphasise what happens.
Overall I feel like the Saga of Bjorn is an excellent little animation and a gem amongst animated short films. It has great comedic value and an even more interesting art style.
A short film by 'The Animation Workshop', I liked it because of the artstyle and narrative, as well as how the story of the character was told. The artstyle is similar to some other animations I have seen before but I feel this is the best example of portraying 3D animation in an almost 2D way. In comparison to 2D animation that I typically prefer, on a personal note, I like it a lot. However, it doesn't have the seem artistic touch as 2D animations typically do, even if the animation itself is very well stylised. The cinematography in the animation is nothing that cannot already be expected, but I still like it an awful lot. All the shots are well composed and I can almost picture the storyboard myself, picking out minor details that contribute a great deal. Some of the shots used arguably are the best choice for contorting the particular ideas the animators with to portray. The music and soundtrack were also well composed and used. The sound in an animation often contributes more than most people can appreciate or realise, as it sets the atmosphere and can can highlight or emphasise what happens.
Overall I feel like the Saga of Bjorn is an excellent little animation and a gem amongst animated short films. It has great comedic value and an even more interesting art style.
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