Tag: animschool lecture

Camera Tips for Film and Games

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In the world cinematography, every choice, from the way a scene is shot to how the camera moves, plays a critical role in telling a story. In this clip from an AnimSchool lecture, AnimSchool Instructor John Paul Rhinemiller goes through the basics of cinematography and illustrates how film and videos games use camera movements to create a specific emotion and feeling. JP addresses the importance of having motivated camera movements that have a purpose and also add to a character’s personality or story.

One of the most subtle yet effective tools for filmmakers is the use of a “locked-off” camera, which stays in one place without movement. The key purpose of a locked-off camera is to create stillness, focusing the viewer’s attention entirely on the subject or scene at hand. However, despite the growing trend of fast-paced, dynamic shots in modern filmmaking, sometimes the most powerful storytelling comes from controlling the camera, rather than letting it move.

Ensuring that any camera movement (or lack thereof) has a purpose is key. Whether the camera is panning left to right, following a character, or offering a point-of-view shot, every movement must serve the story. For instance, moving the camera in a specific direction can subtly indicate unease or tension. Left to right feels more natural due to the way people read in Western cultures, whereas moving in the opposite direction can suggest that something is wrong or unsettling. In contrast, a stationary camera can communicate a sense of control and deliberation. This is especially important in dialogue-focused scenes where unnecessary movement may detract from the characters’ performances or the emotional depth of the conversation.

JP offers some camera tips:

Moving the camera during dialogue can be distracting
- This is why the camera cuts many times during dialogue
- Always focus on the person speaking
Never use longer than 50mm when two characters on screen (no limit with one character)
Lead and follow
- Lead through a scene to suggest that the scene stays somewhat equidistant
- Follow through a scene – common in 3rd person

In this example from Full Metal Jacket, JP explains that the camera moves backwards as the sergeant steps forward, creating a sense of unease and tension within the scene, reflecting the discomfort of the recruits.

In this example from God of War, JP points out how the camera is consistently equidistant from the character, with some flexibility in zooming in at different parts to emphasize the action, such as attacking.

Another camera technique is “rack focus,” which shifts the focus of the lens from one subject to another, is used to draw attention to a specific element within the frame. This subtle shift guides the audience’s gaze, highlighting important details and directing the flow of the narrative.

An example of rack focus from The Incredibles.

Ultimately, camera movement, when used with purpose and intent, becomes a vital tool in shaping the emotions and experience of the viewer. Whether through subtle shifts or deliberate stillness, the camera can profoundly impact how a story unfolds, making it an indispensable element in visual storytelling.

Watch the full clip from an AnimSchool lecture here:

At AnimSchool, we teach students who want to make 3D characters move and act. Our instructors are professionals at film and game animation studios like Dreamworks, Pixar, Sony Pictures, Blizzard & Disney. ⁠Get LIVE feedback on your Animation from the pros. Learn more at https://animschool.edu/

Modeling the Ear

When approaching a big modeling task, the big picture may become so overwhelming that it becomes difficult to remember how to break down a model into smaller parts. By slowing down and approaching a character model as the sum of its parts, as opposed to an all-encompassing project, we are able to set ourselves up to succeed. In this lecture taught by AnimSchool instructor Emilie Austin, we approach a small feature in a character model, the ear. Modeling an ear in 3D can be one of the trickiest aspects of character design. The ear’s unique shape, curves, and intricate details can pose challenges for even experienced artists. Emilie demonstrates how with careful planning, great reference, and patience we are able to break down this complicated shape into a manageable and approachable task, focusing on key techniques for creating a realistic and functional ear. Such a technique is applicable not only to the ear, but any modeling task at hand.

Start with the Basics: The Plane

Begin by creating a simple plane to use as your starting geometry. This is the foundation for shaping the ear. Instead of extruding the geometry from the head, which can create messy topology, it’s better to model the ear separately and merge it into the head later. This method avoids disrupting the face geometry and ensures that both the head and ear can be worked on individually for precision. Block out the basic shape of the ear from the side view, then move the plane into the desired position and adjust the orientation as needed.

Extruding the Ear’s Structure

With the base shape established, start extruding parts of the ear to give it depth. The back of the ear is crucial to define early on, so pay attention to its curvature and the way it wraps around the head. As you extrude, focus on the ear’s thickness and how it gradually tapers at different points. Add edge loops as necessary to preserve the ear’s form and detail.

Shaping and Refining Details

As you continue to extrude and adjust the topology, take time to refine the ear’s unique features, like its folds and curves. Ears have many subtle shapes that contribute to their realistic appearance, such as the helix and the concha. In many 3D programs, you can slide edges and vertices to manipulate these areas more efficiently. Don’t forget to constantly check your reference images to ensure accuracy.

Final Adjustments and Optimization

Once you’ve blocked out the main structure of the ear, continue refining it by adding details like the inner ear folds and adjusting areas where the geometry is too thin or too thick. Afterward, check the ear’s alignment with the head and adjust the angles as needed.

It’s perfectly fine if your model initially contains some triangles. These will be hidden in areas where they aren’t visible, such as the interior of the ear, which doesn’t need to be highly detailed. Finally, add a few holding edges to reinforce curves and make sure the ear transitions smoothly with the rest of the character’s face.

Modeling an ear in 3D may seem daunting, but breaking it down into steps—blocking out the shape, extruding to form depth, and refining details—makes the process manageable. With practice, you’ll be able to model ears quickly and efficiently, whether you’re designing realistic characters or stylized ones for animation and games.

Watch the full clip from an AnimSchool lecture here: