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Artefact Five
ArtefactNoDia SOUND from Alyssa Brookes on Vimeo.
Following
on from my fourth Artefact I decided to use the same animation but add sound
and cinematography to see whether the audience empathised with the animation
the same or even more. When researching
further into cinematography, I found three rules that cinematographers most
commonly break down.
“Rule
1: when going from a wide to a close shot, keep your character on the
same side of the screen – if he was on the left in the wide shot, don’t frame him
on the right in the close shot.
Rule 2: when intercutting between two people,
their glances must always face in the opposite direction if the viewers are to
feel that they’re looking at one other. Don’t make them look towards the same
side of the screen or they’ll both appear to be looking in the same direction.
Rule 3: when a character moves between shots,
he should move in the same direction on screen in each one. If he doesn’t, it
will look like he’s changed direction.” (Unknown, 2011)
I felt that rule one was the most
important focus to my animated scene. When involving cameras using Artefact
four, I wanted to use it as a build up to her emotion when she starts reading
the letter. A slow inwards pace, as her emotional state is quite nervous mixed
with excitement.
As for choosing the right sound for
this piece of animation, it was quite understandable and clear that I wasn’t
going to choose any rock, pop, hip hop etc sort of sounds. Overall it was
pretty obvious a slow, soft sound effect would work nicely to the build up
throughout the scene.
The feedback for my final Artefact was
successful. The most important reaction I wanted from the audience was to
empathise more with the character due to the sound and camera movement. They
all felt a difference from looking back at my fourth Artefact and then watching
my fifth. They also mentioned that the sound worked perfectly for the scene, as
it had a build up to the end when she holds the letter over her heart which
enhanced the anticipation through story telling. Although, I feel another pass
at animating more anticipated movements would benefit the scene even more
effectively.
As this is my final Artefact I feel I
have covered a wide range of areas that express interior monologue within a
character performance through research and practice. However there is so much
more out there that I could experiment through inner feelings that I would love
to explore further.
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