He has helped set the style for so many memorable animated films from The Lion King to his exquisite production design on Mulan. For years he has shared his. A truly unique visual delight offering insight into the development of animation classics like Bambi, Beauty and the Beast, The Lion King, Lilo and Stitch as well as a tantalizing examination of unfinished Disney projects. Author: Hans Bacher. "Dream Worlds is a must have for its. Hans Bacher has been a major influence on the design of Disney films for nearly 20 years. His work appears in Who Framed Roger Rabbit, The Lion King.
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DownloadPDF MB. Keywords. The Lion King. Beauty And The Beast. Brother Bear. Character Designer. Andreas Deja. Art Director. ANIMATED SITES | More» · 2D Traditional Animation · Animation Backgrounds · Cartoon Brew · Character Design References · Deja View · Pencil Test Depot. Download now: wfhm.info Author By Hans Bacher PDF Read Dream Worlds: Production Design for Animation Hans Bacher Online.
That balance is between space, the negative area that is all around your objects and defines their shape, and the objects or the positive form that defines the readability of your design.
Composition and scene arrangement of your environment has to be carefully planned from various points of view. Unlike film, where the screen time is limited, in game art the player can explore your environment. There are two elements to consider before you start. Are you creating a stand-alone game environment non-playable map or are you creating a level playable map? The composition and arrangement for each one will be different. In a stand-alone game environment, you are creating a scene that will not be played.
It is not interactable. Like a painting or film. Composition will be important from certain points of view. You will only detail areas which you will show to others.
In a playable map you will have objectives, AI zones and paths that lead to mission points. You will want to guide the player to the next location or to a mission objective. The composition and scene arrangement has to be used to accomplish that goal. You will need to set up your map in a way that the player knows where to go subconsciously, without being lost. This is done through framing of architecture, lighting , environment cues, prop placement, on screen direction or AI character direction.
Composition and arrangement of your environment should be dictated by your purpose that you want the viewer or the player to experience. Just as author points out, "nothing is accidental; we lead the eye of the audience. Good composition should have the right selection of order, rhythm and balance. The arrangement and composition of the scene should guide the player or viewer to the next element within the scene.
11 Things I Learned from Dream Worlds
Use it as the starting point for the placement of the action and all the necessary information around it. It depends on what the story requires.
You may have to show important detail surrounding the character; it can be some secondary action or a few elements in the background that have to be arranged. What is the primary dominating element of your map?
Harmonious center is the focal point of the environment or each location. Focal point is the environment's landmark, a visual reference.
It is the focus of your location, a center of interest. It could be a dominating piece of architecture, landscape or pathway. Something that lets the player orient themselves in the environment.
Bridge focal point in Half-Life 2 For example: in a playable map, a focal point can be either a physical element such as an architectural element or a landscape element or it can be an element within a section of a map that directs the player where to go.
Such as a well lit doorway or headlights on a car in a dark alley. Each environment and each section of your level design should have a focal point. You don't need to show each object at full length; you create more depth by cutting closer, moving them sideways and into the depth of your composition. More importantly, lead the eye to the center of your "stage" where the action takes place. Playable level and stand-alone game environment. Object placement in a playable level has to fulfill a purpose of possible cover , gameplay mechanics and make the map believable with props that support the story and the location of the map while keeping it optimized for gameplay.
Object placement cover example in level design from Call of Duty: Black Ops Object placement in a stand-alone game environment non-playble map has to fulfill the story and believability of the environment. You wouldn't need to think of possible cover scenarios or how the player may use your props and objects in the scene.
For stand-alone game environments think like a film-maker.
You will have a specific composition and certain camera movement. The props have to be arranged in a way that help and tell a story and sell the believability of your world within a single frame.
I try to avoid detail wherever possible. In our design-planning stage, detail should only be added where it is needed to explain the story. It is interesting to note that if your sketch works without the detailed stuff, the final background should do it as well.
I am not talking about texture. When used correctly, texture creates a tone. Flat color areas without a certain amount of texture can be part of a style, but usually the information that texture gives us is necessary to describe materials and creates depth. Use BSP brushes and simple geometric shapes to define boundaries of buildings, walls and environment sections. Foremost, focus on playable area and on space relationships between architecture. Avoid adding detail too early.
Go from large to small. Keeping it simple with BSP block-in for custom CS:GO map During block in or white-boxing, make the environment work without detail and only using simple geometric shapes. If your environment works without any detail, then it will work with detail. But if your environment doesn't work with simple shapes, then no amount of detail will make it better. For textures start with simple flat colors and values to define your materials.
For 3d models, use simple geometric shapes and boundaries of the model. For lighting, use simple area or point lights, just enough light so the player can see. Delivery with Standard Australia Post usually happens within business days from time of dispatch. Please be aware that the delivery time frame may vary according to the area of delivery and due to various reasons, the delivery may take longer than the original estimated timeframe. If you have not received your delivery following the estimated timeframe, we advise you to contact your local post office first, as the parcel may be there awaiting your collection.
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Hitchcock apparently had the scenic designers paint shadows of furniture detail on the wall once in a while if they could not achieve that same effect with original light and shadow. Antonioni is a master of that.
Together with a very carefully choreographed move of his characters, he creates a voyeuristic effect; the audience is always in the center of the interaction between up to five actors.
We find a very different effect from that of a handheld camera in action sequences, together with a very fast editing and fast change of camera-angles.
Going through your thumbnails you can find out about composition rules, about the balance or un-balance in a shot, contrast and value, how the characters are staged and their integration in the environment. The speed of editing creates a rhythm. Compare the length of different scenes.
More emotional scenes have different lengths than action areas of a movie. Epic films such as Lawrence of Arabia have long establishing shots so that you feel the majestic power of the landscape images. You will notice a lot of additional information in music-clips and commercials. Because of their restricted length and because they want to get all your attention within that short time, their rhythm- and composition-rules are different.
And the images and their message are more important than a story. Often, you find crazy camera lens effects, manipulated colors, a shaky camera, grainy or ancient-looking film stock, as well as extremely fast cutting.
There is nothing funny about a beast. I always compared it to Snow White and the Seven Dwarfs where you have the serious part with the witch and the dwarfs for comic relief. In Beauty and the Beast, we wanted to do it in a similar way, with the enchanted objects in the castle. But when I heard for the first time that the plan was to change it into a musical, I was shocked. We are very serious and would never even think about such an insult.
I made jokes about a singing beast. However, I was wrong. It worked. In addition, I must admit, I even like the music — which I cannot say about the look and some of the animation! Even in Mulan there is a lot of singing.
And Beauty and the Beast was the beginning of the Golden Nineties in animation. I am happy I had a chance to be part of it. Dick and Jill had an animation commercial studio in the West End. Their own work commitments did not allow them to leave London immediately to work on the project in Los Angeles, so they all decided to move some of the Disney artists for a few months to London to work on a story-reel of the project.
We were all so committed that we worked 14 to 16 hours a day.
At that time I remember that I did not see anything of London. We just worked like crazy. And we finished a story reel in color in a very short time, about 50 minutes long. But we all believed in it. We were a family. That never happened again in my whole career. I felt so much at home. All the others did as well. We had good French food and even better wine.
Of course nobody understood that some Germans liked sweetbread, horse steak and Bambi filet. From then on, they looked at me as the barbarian. We shot thousands of pictures, video, and did tons of sketches. Unfortunately, later in the movie it was decided not to use any of the reference and to do just another genericlooking Disney movie. Anyway, the good memories stay! I wanted the village to look like a real medieval village.
I always admired the architecture and look of the German silent movies Der Golem and Faust and some of the Siegfried forest scenes in Die Nibelungen.
Download Dream Worlds: Production Design For Animation
My approach was a bit influenced as well by movies that had just been released at the time: Amadeus and Dangerous Liaisons. And of course I used the painters of that time, Fragonard and Watteau, for inspiration. Design ideas from Prod. Design staging. They are based on my experience through some productions and on talks with producers, especially Don Hahn.
Back in the late eighties when I was planning my own feature film, he gave me a crash-course, a four-hour lecture in producing an animated movie. I will never forget that Saturday morning. Afterwards, I had a headache for the whole weekend.
The only basic thing to understand is that everything on a film production happens overlapping in very carefully timed steps. As you might have thought, the script comes first.
But storyboarding goes on for a while. I even had experiences in which boards were still being redone during the last months of production. That is not a very economical way to work.
Checking my memories, I recall one production where we began animating somewhere in Act 2 because the opening was not yet finished.
1. ON PREPRODUCTION
Not to mention not knowing how the whole thing would end! This is expensive because you might have to change or cut whole animated sequences when finally your story is complete, or, for example, when your hero is not a girl anymore, but a boy! Another thing that can happen is that a small story detail that is very important for the ending has to be introduced in the beginning. The sword has to be found during the first act and then carried visibly throughout the following sequences.
Too bad it has to be added in that case into finished animated scenes. It is tragic! There is a solution — start with a complete story! If a script is crap it should be finalized before you start to spend money.
But I might think too logically. Maybe the real movies are done differently. As for production time, I chose eighteen months because it always seemed to be the ideal length. The total length of time including preproduction can be much longer. I worked on Mulan for nearly five years. Sleeping Beauty took nine years to finish.
On the other hand, Joe Grant told me that Cinderella was ready for release in nine months! Apparently, they knew pretty well what they needed to do. And they had an incredible experience at the time as a team.
That includes the search for a style to fit the story, in all areas: background, characters, color, composition and editing. It also includes the research and concept-design based on possible stylistic directions. Research into areas such as architecture, historical environment, landscape, costume and props starts simultaneously. Concept-design covers all different genres and styles, naturalistic or stylized, drama or romance, time-period movie, children or adult concepts, musical or action film.
The visual approach is different in a thriller and in a comedy. Dramatic light and shadows, together with more 44 night-time scenes will dominate in a thriller or horror movie. A comedy is much lighter and colorful. Camera angles and editing will be very different as well.
The more character-driven comedy has more close-ups with a normal camera, whereas an action movie uses more dramatic camera angles, up and down shots and very fast cutting. Will the style of the film be realistic or abstract stylized, cartoony or surreal? How much detail can we afford to show without overloading the images? Do we lose the audience in an abstract visualization because it might be harder to establish an emotional connection to an abstract character?
The choice of color depends on the style and genre: fresh and friendly daylight colors for a comedy versus a dark mood and sharp contrasts in a thriller. How big is the budget? Can we afford epic wide shots with tons of characters?
On the other hand, do we have enough talent available for character-driven top-quality animation? Can stylized characters show the amount of emotion necessary to understand the story?
All these questions have to be considered and discussed within the small team during that early stage of a new movie. Sometimes it is very easy to get the right reference within a short time; once in a while it is impossible. Unfortunately, I was not part of the group of artists that went to China for Mulan. In that case you would depend on books, television documentaries, movies and the Internet. It is the time when you go back to school and learn how things look, and learn how to draw them.
During this time, you create the foundation for your style of the movie. The more thorough your research is, the fewer problems you will face during production. During the last stage, there will be no time left for studying. Ron Clements and John Musker wrote the script and directed the movie.
Dream Worlds: Production Design for Animation
The story went through a lot of major changes. The environment was that of Arabian Nights and had to be designed well. There are a lot of movies that are set in that world, and we wanted to come up with something new. I found a lot of reference art books about the Orientalists, a group of mostly French painters around the end of the nineteenth century who concentrated on Middle Eastern themes.
And I studied Persian miniature art for the palace garden.Going through your thumbnails you can find out about composition rules, about the balance or un-balance in a shot, contrast and value, how the characters are staged and their integration in the environment. There are different ways to arrange scaled value steps in your sketch.
Comic characters are often made up of pure fresh colors. Top down views for custom CS:GO map There are two ways to focus on floor plans: For stand-alone game environment non-playable map you can use top down layouts to help define a fly-through camera to show off the environment; space and location of objects, focal points and where you will spend time detailing based on what you are going to show. Today, working with the computer is even faster and more accurate.
All this is not the sole responsibility of the production designer; the director also decides about these issues, but you have to come up with ideas and you have to know about all the technical details. These extreme close-ups were a big problem in the days when the animation still had to be painted on cells. What an opportunity for designs in a very new style, mysterious, poetic, and exotic.
It was a very time-consuming job.