From White Box To Supervision: Chapter 85 Mirror composition

Zhang Beichuan thought hard about what style would suit him?

In fact, he really doesn't know what to think about style. Zhang Beichuan always instinctively uses the knowledge he knows when he draws the storyboard, and uses it as it suits him, instead of being paranoid and preferring a certain way of performing. The crazy use in one episode, that way the personal style is highlighted, but it will make the audience feel uncomfortable.

Da da da.

Zhang Beichuan unconsciously tapped his fingers on the table, thinking hard.

Unable to think of it, Zhang Beichuan was slightly discouraged and came to the rooftop of Musashino. At this time, the sky was still cold, and when the cold wind blew, he always felt a lot more lucid.

"I already know about your storyboard." Miyamori Aoi appeared from behind with a smile at some point.

"Did you listen to what the supervisor said?"

Aoi Miyamori came over and handed over a can of juice: "I'm so good that I'm also the production manager. It's natural to know that your storyboard has been returned. Otherwise, what's the next production, sir."

Zhang Beichuan took it, opened it and took a sip, frowning slightly: "It's really cold, drink this frozen tooth in winter."

"Didn't I let your overclocked brain cool down! Let you refresh yourself, why did the supervisor come back?"

"The supervisor said that my painting was too mediocre, and it gave me some personal style." Zhang Beichuan said, put the juice aside, rubbed his face, and sighed, "I have no clue about this person's style at all. It's really going crazy."

"So far I have no inspiration."

"I know that what I said below may be a little reluctant to you, but I still have to say that I can't give you enough time to think about it now. Split the mirror... as soon as possible." Miyamori Aoi hesitated and said.

"Well, I know, I will give it to you within two days."

"sorry."

Zhang Beichuan smiled: "This is my own reason. It should be me who apologized. As a production manager, it is normal for you to supervise the handling of each storyboard."

Gong Senkui thought about it and said, "I may not be able to help you in the storyboard, because I don't understand this very well, but there is one thing I want to say, you don't have to stick to it, and you may not be able to build it behind closed doors. , you can look at the works of some well-known animation supervisors, or when you were young, and see how they deal with it, and maybe you will have inspiration."

"A well-known animation supervisor? I see." Zhang Beichuan smiled slightly, cheered up, and poured the canned juice next to him into his stomach.

"It's really cold, okay, let's go in."

Looking at the brand-new storyboard, Zhang Beichuan turned on the computer, thought about it, and searched for the animation.

There are Master Jin Min, Hayao Miyazaki, and Oshii Mamoru, but he will open it for all the famous supervisors, but one thing is, he looks at their early works. One morning, Zhang Beichuan did a storyboard. He didn't move, just kept watching.

I have to say that Zhang Beichuan has benefited a lot from watching these. Each of them has their own unique and good things. Zhang Beichuan does not know if these are their styles.

"Compared with those mature masters, I am undoubtedly incomparable for the time being, so what is my advantage? At that time, Master Jin Min was a graphic designer who studied, so he used still pictures to tell stories, while Oshii used to tell stories. Shou used to watch thousands of movies when he was a student. He applied the techniques of movies to animation. Their life experiences gave them different aspects. What about me? Maybe the best at drawing is painting, but this What's the use? Who of them can't draw?"

"No, I'm different." Zhang Beichuan got a little inspiration and said to himself: "I started painting since I was a child, and I didn't fall down every day, and the biggest difference between me and them is that I have space for inspiration, In the past, I only used this passively without thinking carefully. At most, I only used it in illustrations and the storyboard drawing of "Rain of Tears". These did not give full play to the inspiration space. In painting, what I like is the composition of the picture. Now, you can have multiple angles of painting, and I might as well combine the two.”

"In the inspiration space, the storyboard can be performed like an animation. I originally thought it was useless, but I was wrong. I can choose the most suitable angle in it and modify it again."

It may sound complicated, but it is very easy to understand.

The first step in painting is to compose the image and understand the perspective relationship, that is, to choose the angle of painting, which direction and which position is the person in? Who is it aimed at, UU reading www. After uukanshu.com has thought about these things clearly, they can choose to write.

The storyboard also needs this composition, which is the camera angle of the animation. For example, in the animation, the protagonist doesn’t feel anything when running, but if the protagonist is chased by some monsters in a battle, how to make it more dangerous Woolen cloth?

As the protagonist runs, the camera will shake, the music will be rendered, and the attack will follow, but this is only the most superficial use.

In the hands of a powerful master, there is no music, no sound, no monsters being chased behind, just let the protagonist run, but with the use of the storyboard lens, the audience will feel that there is something behind at first sight. who is chasing.

An unexpected lens angle will make the picture show a certain change. Of course, this requires the correct perspective relationship, but Zhang Beichuan, who has the space for inspiration, can freely choose it.

Some people watch animations and see certain storyboards, and they will feel: "What an awesome storyboard!"

That's because you're seeing better camera angles and more intense action.

Zhang Beichuan wants to achieve this effect, using his own inspiration space to optimize the perspective relationship and composition, and give full play to his painting ability.

Thinking of this, Zhang Beichuan did not hesitate, lying on the table, pretending to be sleeping, and came to the inspiration space. He started to create from the first step of the storyboard.

In the inspiration space, Zhang Beichuan began to create as he did before when he painted illustrations. Here, he did not need to be bound in reality, and his inspiration greatly increased.

At the same time, Zhang Beichuan also discovered his previous problems. He found that there were some problems with the rhythm points of the storyboards he had drawn before, and some of the transitions were a little stiff.

In the space, it is like a drawing board, allowing Zhang Beichuan to create in it.

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