About the Author- Study Task 4

ROB HUNTER:




Narrative
- Creates a feel of mischievousness and gives a clear feel that the boy is hiding through only the simple order of the characters appearing and the movement of the boy

Sequential thinking
- By separating the boy and tiger completely from appearing at the same time, Hunter ensures there is not a hurried, chased feel to the animation, but more an adventure of evasion

Composition
- Hunter includes strong lines of sight from the landscape to the direction of the tiger and the boys gaze, and the way he holds the boys movement within one central space whereas the tiger roams across the whole composition separates them still further

Pace
- The inclusion of solid colour frames and then 'empty' street scenes ensure that the animation is not rushed, and even gives more power to the tiger, as he seems to leisurely stroll through shot, showing that he is not fearful, where as the fast paced movement of the boys hair shows the opposite

Technical questions
- How does he get the tiger to move so slowly? I noticed the feet were hidden, as Fred mentioned that often animators avoid trying to show the whole body movement when walking
- How does he merge the whole colour screen into swaying independent sections? is there a tool to select certain aspects of the same layer?


CHRIS NIXON:

PANDAMONIA trailer from Chris Nixon on Vimeo.

Narrative
- Through the zooming and panning, Nixon creates a real sense of place, and makes the whole story feel a lot larger than the audience can see

Sequential thinking
- By travelling to the right he mimics the narrative of the book, so by slowly changing from very empty scenes to busier ones helps to build tension and a sense of a developing plot, which is perfect for a book advertisement

Composition
- Nixon creates frames of empty space from substantial material in his animation (such as the leaves in the first frame) which creates strong links across the whole image, and in particular with the text

Pace
- The pace is fairly slow, as it needs to be to ensure that all the writing is clearly read, but he keeps it interesting by the slight grain and movement in the background so that it isn't just a static background with moving text

Technical questions
- How does he create that altering background? Maybe by toggle hold keyframe on opacity with varying backgrounds? Or does he simply move the same one?


LUKE BEST:

How We Got To Now | Montage from Trunk Animation on Vimeo.

Narrative
- By including leading text throughout, Best links a lot of the seemingly unrelated scenes through the strong narrative hook he has built with the inclusion of text

Sequential thinking
- The start of Best's animation is very focused on the construction and formation of his lines, which helps really well to build a scene from which he then includes more movement and interaction between his elements

Composition
- The compositions in his animation are varied scene to scene, but he seems to keep them on a similar level of hectic, with the same amount of movement in each, just in different directions to ensure it stays fresh

Pace
- By building up different segments of alternating between flat colour illustrations and live motion, he ensures that there is a natural varied pace which holds the audience's attention

Technical questions
- How does he include drawings on live video? I'm not sure this is something I want to include in my stings, but it is definitely want to look at it in the future, as a sort of live collage effect