CINEMATICS 1: CLASS 04

Cinematics 1:  Class 04

Words To Images

Topics covered: 

• Production Design
• Camera Views
• Line of Action/Continuity
• Story Boarding

 
Download pdf of the Class 04 lecture:  DESN3020_Cinematics_Class04_Fall2013.pdf .

CINEMATICS 1: CLASS 03

Cinematics 1: Class 3 

STORY (Today's session will discuss):

• Script 
• Format 
• Camera 
• Course Overview (revisited)

Course Overview:  pre break

Course Overview: post break 








Grading Breakdown:

Basic Structure of a Script

• STORY 
• ACTS 
• SCENES (also called sequences)  
• SHOTS (also called scenes) 

YOUR Cinematic: Story? Trailer? 

1. CINEMATIC BASED ON STORY: 
all stories must have a beginning, middle and end. The ‘star’ must have a goal & an opposition to that goal (providing tension). 

2. CINEMATIC BASED ON SHOWCASING IDEA (TRAILER): 
non-narrative structure using rhythm, music or other devices to provide structure. Also try to introduce concept of pacing and tension to structure. 

Format Your Script 

• Start with TITLE (all caps, in bold or underlined), Author, Date, Credits (based on?) – 1/3 of way down page 
• Cast list or speaking characters with brief 1 sentence bios for each 
• on second page. 
• Left justified for body of script, Character names over dialogue centered, Dialogue indented further. 
• “FADE IN” – “FADE OUT” starts & ends 
• Scene intro ALL CAPS:  
• LOCATION, INT, EXT 
• LOCATION DETAIL (ship’s cabin) 
• TIME OF DAY 
• CAMERA SHOT (close up? Long shot?) 
• ALSO IN CAPS: SFX, FX, Character names, Props 
• Acting direction in parenthesis () under Character name.  
• White 8 ½ x 11 paper, Courrier 12 point font 
• About 52 lines/page 
• Top margins 1”, left 1 ½ “ and right ¾ “ 

From The Iron Giant script

From The Iron Giant script

MOVING FROM TREATMENT TO SCRIPT 

• Just start! You can edit as you go!  
• Now we want to take those beats or key points from our outline and write each scene with focus and polish. Flesh it out and consider: 
• What will the scene accomplish? 
• Where and when does it take place? 
• Who’s in this scene?Which character is driving this scene? 
• Where is the tension or conflict? This scene? The previous scene? The next scene? 
• Does the audience know something the hero/villain doesn’t? 
• Are you revealing character and motivations through each characters’ behaviour? 
• Does the scene have a catalyst at the beginning? Scenes usually do. 
• How are you going to make it funnier or more dramatic without relying on cliches? 
• Use complications, obstacles, sudden reversals, relationships and subtext....

• Scenes can be as long or as short as needed to tell a story and fit into the pacing of the whole. 
• You want only the essence. Never the unnecessary!  
• Once you’ve made your point, the scene is over.  
• Grab the audience with the opening, or they won’t stay for the rest! 
• Every scene must be visually interesting and rarely “talky” unless it’s of vital importance to the 
• development of the story. 
• Keep descriptions to a line or 2 (unless necessary). 
• Put in the motivations. Add complications. 
• Avoid complicated visual ideas, subtleties, or unknown actions where explanation is necessary.  

Fitting scenes together  

• When constructing your cinematic, think of each scene as part of a whole story: 
• Each scene fits into the rhythm of the whole. 
• For pacing, action scenes may need to be broken up with quieter, character-building scenes, or comedy. 
• Vary scenes and sequences. Vary location. Vary shots. 
• Cut between lengths. Vary pace. 
• Would your scenes be more effective arranged differently? 
• At the end of a scene you want your audience eager to find out what will happen next!

Checklist 

Once you’ve created your scene, ask yourself the following to check: 
Does your scene accomplish everything you think it should? 
Does it stay focused on the plot and characters? 
Is the scene clear? Is it easy to understand? Will the audience believe it? 
Be sure the scene is visual. Don’t try to depict interior motivations or ‘thinking’. 
Is it too long? Does it repeat itself unnecessarily? We may need to repeat things for effect or to ensure comprehension but don’t overdo it! 
Does the scene make us want to know what happens next? 
Is it entertaining? Funny? Emotional? Tense? How can these be heightened? 
Avoid dialogue in stories this semester – we have no audio capabilities at GBC Game Dev. 

Keep up the Pace! 

Use the essence. Break up the action and increase the pace with cuts. 
Cuts keep the story moving. 
Action. Reaction. Keep the sentences short, use strong verbs, make it flow. 
Timing is everything. 
Revisit what you have written and edit, edit, edit!  

Be Clear!  

Animation scripts tend to include the camera shots, as if the writer is directing the story. The 
Script then goes to storyboard artist to visualize based on script’s direction. 

Use the following check-list to help you refine your script: 

• Be CLEAR.  If you have to explain it, it needs rewriting. 
• Is the structure all there? (Hero with motivation, villain to thwart...) 
• Do you start with action? Plenty of suspense and intrigue throughout? 
• Will it work well as a storyboard? As a cinematic? 
• Are your characters acting and speaking “in character”? 
• Don’t be wishy-washy! Is your villain really bad? Is your hero relatable? 
• Are the relationships believable? 
• Is the dialogue as sharp and witty as it could be (if you must use 
• dialogue)? 
• Smooth the transitions! Think about FLOW. 
• Be sure nothing is too subtle to animate or be seen on smaller screens. 
• If something bothers you, trust your instinct and cut it / rework it! 
• Is your script format correct and consistent? 
• Check spelling and grammar. 
• Check for typos! 

SCRIPTS DUE WHEN? 

• Tuesdays class: Scripts due Sept 24 
• Mondays class: Scripts due Sept 30

TODAY:  

Cinematics Worth Viewing:  

• ‘Radio Animation’ – check out any episode of The Simpson’s. This technique uses expository dialogue to make up for limited animation. 
• Cinematics with limited or no dialogue? Suggestions? Does it communicate? How does it communicate with no dialogue? 
• In-Class work time:  
• Start script (30 min)

CINEMATICS 1: CLASS 02

SCRIPT 

Finding Ideas 

Brainstorming 

The Treatment

Who is your target audience? 

• Animation is increasingly popular with a wide demographic, but children are still primary target 
• Games are different, demographics are skewing more and more towards adult, but children and youth are still a large part of the market. 
• Look for characters and situations that provide an immediate connection for the people who play / watch

Human Development: 

The following is a rough guide of what can be expected from various age groups  

Age 6 
They’re thinking about playing
Brash and aggressive age, see things as black/white, good/bad etc

Age 7  
More withdrawn, introverted, calming down
Unlimited fantasy of earlier years is being replaced by more logical
fantasy
 
Age 8  
Beginning of “Tween” stage
More social, active and looking for role models

Age 9  
Another more introverted age
Start to want independence, self-consciousness starts to creep in

Age 10 
Respect for authority
Behaviours and attitudes start to differ more greatly between genders
 
Age 11
Emotions and hormones start to run wild
Midbrain (emotional development) and imagination are almost completely
evolved now

Age 12  
The group rules the individual
Special abilities and talents are becoming apparent

Age 13 
Another time of withdrawal and worry
Many identify as fully mature by this age

Age 14 
Want and expect everything
Take criticism badly and “Parents don’t understand!”

Age 15 
Continuing drive to be independent
Tendency to rebel against authority, less emotive and expressive

Age 16 
More self-sufficient
Maturing sense of humour and wider range of interests

Age 17-21 
Transition into adulthood
Capable of advanced abstract reasoning, sci-fi and fantasy genres are popular

Age 18-45 Young Adulthood  
Life experience grows, begin to relate to/understand their parents
“Am I fulfilling my potential? How successful have I been?”

Age 45-65 Midlife 
Increased confidence, stability, disposable income
May be periods of crisis, may feel pushed out the door by younger colleagues
at work

Age 65-80 Late Adulthood 
Reassessment of life lived. A time of wisdom and reflection
Decision to enjoy remaining years or make use of remaining time to find
meaning/purpose

Age 80+ Old Age 
Illness becomes more of a problem, scope of life grows smaller
Involvement with self becomes more complete

Finding Ideas 

• People watching is FUN (and totally legal)! 
• Find a crowd and a place to sit. Choose a Park, a Playground a Mall, a Zoo or just the TTC. 
• Make up stories about the people you see. 
• Some places are more charged with opportunity than others:  hospitals, police stations, juvenile court, weddings, funerals. 
• Maybe a stranger you see reminds you of someone else you know? 
• Give your subject a personality based on what you see. 
• Judge attitude, body language and dress... How should they talk? Whom is he/she with and what is their relationship?

What terrible or funny thing just happened?  What’s going to happen next?

Brainstorming 

• Genres and categories come up over and over again in all stories  
• Make lists of things that center around a concept 
• School > teacher, student, desk, pencil, eraser, dry-erase board, markers, lunch, homework  
• Pay close attention for things you could use as props  
• Generate ideas about a location / setting 
• What’s funny about it? What has happened here? 
• Make up stories about the objects there. Who else has written on that chalkboard? 
• NEVER EDIT! Write down everything as fast as you can. 
• Editing as you go can destroy the good ideas with the bad

Idea Generator:  Pick one from each column

Class exercise:  

• Pick one word each from the People, Places and Things columns in the earlier slide  
• Write a short story description. One sentence is fine  
• Something like: “The Headless Horseman lost his cell phone in the Moat, but that's not why he didn't return your call".   
• You have 60 seconds...GO!!!!

THEMES Drive The Story 

Is there such a thing as an original story? There is a limited number of themes used in storytelling since we began telling stories:

Charlie Chaplin in Modern Times

• Man vs. nature
• Man vs. Himself
• Man vs. Machine
• Loss of Innocence
• Revenge
• Death as a Part of Life
• The Battle
• Individual vs. Society
• Triumph over Adversity
• Love Conquers All
• Good vs. Evil



Character Types 

In-depth discussion of character and story can be found here:
http://rocket5edu.blogspot.ca/2012/09/desn3020-cinematics-class-two.html 

Classical traditions categorize personalities into 4 types, based on the 4‘humors’ :

• Black Bile (melancholic, sentimental, thoughtful) –read: Emo 
• Blood (sanguine, amorous, joyful) –read: the Latin Lover 
• Yellow Bile (easily angered, obstinate, stubborn) –read: the hot-head 
• Phlegmatic (calm, cool) –read: the Zen Master

Who Is Your Character 

• What is your character’s spine? What’s his unchanging driving force throughout life 
• Does your character put his own self-interest first or that of the group? 
• What allegiances does your character have? 
• What hard choices / crises does your character face in life? 
• Values? What’s important to your character? 
• What are your character’s current circumstances? (Rich/Poor, good luck / bad luck)? 
• What effect do these things have? 
• What threats/opportunities does your character have?

Story Basics 

All stories must have a beginning, middle and end. The star or hero must have a goal or motive and someone or something must oppose that goal.

Normally scripts use the 3-act structure:

• Act 1 
• This ends after the problem has been set up (a damsel is tied to the train tracks) 
• Act 2 
• This ends before the climax (the train is fast approaching) 
• Act 3 
• Resolution (the hero frees the damsel just in time)

Story Mountain 

Introduction – Conflict – Crisis – Climax - Resolution

Lets Look at The Phantom P.I. Mission Apparition As An Example

In class we looked at Rocket 5 Studio's The Phantom P.I. Mission Apparition introductory cinematic.  We reviewed the entire process: script, rough story boards, 2D animatic, 3D execution in a 3D animation package, and final export and render in-engine in Unity.

In Class Assignment 

Write a Treatment in class that you will develop into your Script 

Screenplay Treatments 

How To Write a Treatment

• This two to five page document should read like a short story and be written in the present tense.  
• It should present the entire story including the ending, and use some key scenes and dialogue from the screenplay it is based on.

Cinematic Treatment: include in your treatment  

• Title 
• Character List (Human? Machine? Environment?) 
• “Logline” or “Elevator Pitch” 
• “The Phantom P.I. Mission Apparition is an puzzle-adventure game about a paranormal investigator who’s clients are ghosts with a problem.” 
• Synopsis 
• Expand Logline to describe cinematic as an overview.  Break down into conflict – crisis – resolution if that is your structure.
• Describe shots you want to include if you are using a less traditional approach to story (The Phantom P.I. Mission Apparitions is an Intro Cinematic intended to introduce the characters, lampooning 80’s action series).  

Ira Glass of “This American Life” on being an artist:

“Nobody tells this to people who are beginners, I wish someone told me. All of us who do creative work, we get into it because we have good taste. But there is this gap. For the first couple years you make stuff, it’s just not that good. It’s trying to be good, it has potential, but it’s not. But your taste, the thing that got you into the game, is still killer. And your taste is why your work disappoints you. A lot of people never get past this phase, they quit. Most people I know who do interesting, creative work went through years of this. We know our work doesn’t have this special thing that we want it to have. We all go through this. And if you are just starting out or you are still in this phase, you gotta know its normal and the most important thing you
can do is do a lot of work. Put yourself on a deadline so that every week you will finish one story. It is only by going through a volume of work that you will close that gap, and your work will be as good as your ambitions. And I took longer to figure out how to do this than anyone I’ve ever met. It’s gonna take awhile. It’s normal to take awhile. You’ve just gotta fight your way through.”

Next Week: 

Script formatting 

• Constructing a Story:  
• Premise 
• Outline 
• Characters?  
• What is the tension? 

Scripts will be DUE in week 4:  September 30 OR October 1st  (depending on the session you are enrolled in).

DESN3020 Cinematics 1 Fall 2013

Cinematics 1: Class 01

Introduction

• Me: Cathy! Game Developer / Animator
  You: ?  

What is a Cinematic? 

• Course Overview  
• Q&A

Lara Croft, Tomb Raider: Underworld

Cathy Feraday MillerGame 

• developer/animator 
• @rocket5cathy 
• www.rocket5studios.com  
• cathy@rocket5studios.com 
• http://rocket5edu.blogspot.ca/ 
• character animator/ art director
• From specialist to generalist 

Who Are You?  

• What are your career goals? 
• What is your area of focus? 
• What is “your passion”? 

Assignments: Due next week

• Bring in your demo reel for next class 
• Be prepared to present it in front of your peers 
• List your goals for this class

Great Guide to Film Making

Course Overview

2 Part Course:  

Semster 1: 

• learn how to tell a story 

Semester 2: 

• tell your story, build your cine

General Grading Structure

Assignments: 80%

• Script 
• Story board exercises (in-class & homework) 
• 2D Story Animatic exercises (in-class & homework) 
• 3D Animatic exercises (in-class & homework)
• Final “Trailer” (editing exercise) 

Portfolio presentation:  5%
In-class tests:  10%
Class participation and daily attendance: 5%

Story Mountain

Weeks 1 – 5: Into To Story

• Story structure 
• What makes a good story? 
• Create short script 
• Storyboards & Composition:  
• Camera theory  
• Continuity 
• Creation of your individual Cinematics blog, through which you will hand in your assignments 

Making A Cinematic

• Story:  every project starts with an idea 
• Style:  how do you want to present your concept? 
• Skills:  you have to know how to use the tools in order to convey your ideas 

courtesy of www.floobynooby.com

Storyboards

• All visual artists must understand composition 
• Tell stories visually 
• You don’t have to be a great “draw-er” to communicate ideas 

Production Pipeline

• Everything starts with a concept (idea!) 
• Order in which assets are made 
• Organization is Important! 
• Games VS Film (not very dissimilar)

Weeks 6 – 10:  Animating The Camera

Animating the camera in Maya

• Intro to Camera Animation in Maya  
• Setting up shots with primitives 
• Creating legible story structure ‘training exercises’  

 

12 Principles of Animation

1. Squash and stretch 
2. Anticipation 
3. Staging 
4. Straight ahead vs pose to pose 
5. Follow thru and overlap 
6. Slow in, slow out 
7. Arcs 
8. Secondary action 
9. Timing 
10. Exaggeration 
11. Solid drawing (or posing) 
12. Appeal

Weeks 11-15:  Create Trailer

• Create trailer using found game footage 
• Introduction to editing software (After Effects, Premiere) 
• Concept and Approach to Creating A Trailer 
• Finding Footage (or capture your own) 
• Creating limited assets for the trailer (fx, titles, etc) 
• Final output and posting to the web

Cinematic as Trailer or Marketing Material

Lovers In A Dangerous Spacetime, Asteroid Base studios

www.matthammill.com
http://www.asteroidbase.com/

Lets Watch Some Great Cinematic Trailers!

www.thephantompi.com

Also see:
Games: “class based multiplayer”
Team Fortress 2, Valve Software, 2007