MLP Movie - airing October 6, 2017

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Re: MLP Movie - airing October 6, 2017

Postby Pocket (?) » Fri Oct 06, 2017 2:32 am

Stone Cold Jane Austen wrote:Yeah, there’s got to be someone who decides where and when to pan, zoom in or out, camera angles, and so on. Even if it’s all specified on the storyboards, even if the animators are moving the characters into the background or foreground and changing their perspective, someone’s still got to make the actual shots.

I thought this was called "layout" in animation.
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Postby Soft Snow (?) » Fri Oct 06, 2017 4:14 am

Highbrow Dash wrote:This was amazing, and that's all I'm gonna say about it until there's a spoiler thread about it.

:ponydrugs:

It was pretty amazing. I hope there is another.

:ponydrugs:
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Postby Captain Rufus (?) » Fri Oct 06, 2017 9:26 am

Glad yall brave/social group full enough to venture out to see it seem to be enjoying it!
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Postby Stone Cold Jane Austen (?) » Fri Oct 06, 2017 11:14 am

Pocket wrote:I thought this was called "layout" in animation.


At a lot of studios, particularly in television and for studios that produce gaming cut scenes, layout is in charge of the camera. But in feature animation, the director of photography position originated at Pixar with A Bug’s Life. So it’s been around for 19 years. It’s now starting to show up on films from other studios, like MLP, and on films made at Blue Sky and under the WB Feature Animation umbrella.

Basically, the role of layout has been evolving as CG and digital production techniques continue to evolve. Whatever the style of a production (hand drawn, CH, or a hybrid), camera moves are usually decided at the storyboard and previs/animatic stage. There are exceptions where layout artists have more control over the camera, but this is generally how it works. With CG, layout artists are the camera operators, “shooting” from the specified angle and with the specified camera moves, and setting the scene’s lighting, before the finished animation is even done. On productions that are less constrained by time and budget, they will be asked to prepare takes from multiple angles and perspectives, so the editors and director have some flexibility in how the scene is cut together.

The DP role originated st Pixar basically because one woman, Sharon Calahan, realized that their production pipeline resembled live action more than it did cel animation. The basic argument is that a scene’s lighting affects everything from the obvious basics (colors, shading) to the technical aspects (camera placement, perspective) to story elements such as the mood and emotion of the scene. There is an overlap between what story, layout, set design, and animation all do. At Pixar, the DP is heavily involved in consulting with all of these departments and helps set the camera movements. (More info here: Evolving Role of the CG Director of Photography). Other studios have the DP concentrate more on setting the look of the scene via the lighting, but the DP still has some say in how the camera is used.

So you weren’t wrong, it’s just that the DP role is a direct evolution of layout’s role in modern animation.
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Postby Mr. Big (?) » Fri Oct 06, 2017 8:56 pm

That's legit interesting and something I never considered!

I know a lot of anime have "director of photography", too, although I don't know if it's to the extent that the guys at Pixar does.
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Postby Aramek (?) » Mon Oct 16, 2017 1:05 pm

Watched movie again last night with Bro and SIL, and they loved it.

Pak said there was a few really standout funny moments, other than Spike killing all those dudes. "Pinkie doing the surprise attack with the camera angle showing the cake 'spatter' on the wall, then the machine gun part where she's laughing crazily."
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Postby Stone Cold Jane Austen (?) » Tue Oct 17, 2017 9:17 am

Mr. Big wrote:That's legit interesting and something I never considered!

I know a lot of anime have "director of photography", too, although I don't know if it's to the extent that the guys at Pixar does.


I don’t know so much on the anime side, but (from googling) there are differences. Camerawork is decided by the director and their chief animators, but the DP finalizes it. As with the Western studios, the DP also decides the final look of the shot (so, effects, lighting, and color all come into play), and also is involved in compositing. The (late and lamented) Satoshi Kon is said to have done his own layouts whenever possible and decided his camerawork there, for example, so his DPs would then finish carrying out the work and finishing the look of his movies.

Still haven’t been able to see this yet, because I would prefer to pay to see it and I’m broke. I think I’ll have to wait for Redbox or On Demand.
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