Monday, 8 October 2012

Cinematic Spaces - thumbnails 1 - 18

Here are some thumbnails i have produced. The main focus for this was to help discover a viewing angle in which to work from further down the production line. All of these thumbnails had a self directed time of times minutes  i didn't allow myself to go over that time as i just wanted to help try and put things into perspective rather then trying to create detailed pieces of work.

Images 1 to 6 focuse on my first chosen scene, i think number 1 and 5 both have good angles and will be taking them a little further to see what i can produce. 5 Really stands out to me because it has a viewing angle that is much like that of a person looking out to sea rather then just a static camera.

Thumbnails 7 to  12 are from my second expert. I really want to have emphasis on the dark and gloomy side of the forest, which is why a lot of these are really dark with little or no light enter the lower levels of plant life. Number 8 really stands out to me so far because it has multiple layers which helps create much needed depth and helps lead the viewers eyes through the trees.

Numbers 13 to 18 focus on my third chosen exert. Again i put more focus on trying to find the right angle in which the piece should be drawn. This was proving quite a challenge because i couldn't quite grasp the idea of a hallow rock. but after making my influence maps i found that maybe the inside of a hallow rock can perhaps be like the inside of underground caves or caverns. I really like numbers 16 and 18. 16 i fell has a solid angle and 18's ceiling, and walls make it look huge rather then small.


  1. when in doubt, go back to the 'real' world for additional reference; so, in terms of that hollow rock, yes indeed, go seek out some unusual cave formations to give you the confidence to perhaps elaborate a little on what the book is giving you. Students traditionally struggle with some of the 'beach' scenes (there's one in Journey to the Centre of the Earth too), because they sometimes end up just looking 'out to sea' and the horizon line - and things quickly become generic. This is another example when a bit of intelligent elaboration on the basic description of the book is not only permissible, but welcome. I see by your thumbnails that you've got plateaus of rock (small islands, isn't it?) interrupting the sea line - and this is good, and I think you could push this a bit further too. Don't forget - working at a 16:9 ratio often allows you to put together more dynamic compositions - go 'widescreen'. I want you to think too about Gustave Dore - and they way he layered up his compositions with a very clear emphasis on foreground, midground and background - with light being used to entice the eye: take a look at some of his work again for reference, as at the moment you seem a bit loathed to use any real foreground elements, and they will really help to make these spaces feel, well, spatial:

  2. Thanks for that Phil.^^ I have been thinking about background, midground and foreground a lot actually. for instance, i thought it might be interesting to try and incorporate some kind of "ledge" to my third scene, as the character describes climbing up a ladder to one, so if he was looking at a downwards angle you would perhaps see the ledge bellow his feet, same for if he was trying to peak around a corner.

  3. Hey Lekti 9 really stands out to me as the perspective seems to give it a spooky kind of feel, it feels like its at the same height as me like I'm walking through it myself it pretty cool. I also really like 16 for the lighting and shading you had done on the rocks.