This week we started to accept the animation knowledge of body machine, and its learning form is of course our favorite-watch videos. I also researched the definition and how to use it.
For example, our legs are the largest muscles in our body. But we know that it is difficult to change direction quickly. When the speed changes greatly, the body needs to be coordinated, the structure is properly aligned and the movement is synchronized. If this alignment or synchronization is not available, then we will fall (like a gymnast wobbly at the end of a difficult move).
In fact, after hundreds of millions of years of evolution, the motion mechanism of the living body is constantly changing. To fully understand and create a good character animation, we must carry out a more in-depth study of the movement of living and non-living bodies. Fundamentally speaking, character animation is essentially recreating real movements, whether it is 2D animation or 3D. Of course, a large part of this is to exaggerate actions in real life to increase appeal and create more entertaining viewing content. Although exercise may be greatly exaggerated, this does not mean that weight and basic body mechanics can be ignored. In a sense, we will still study the basics of animation-12 Animation Principle.
3D Equalizer is by no doubt the world’s leading 3D tracking solution, for merging live action footage with digital visual effects. Through this week’s study, I have a preliminary understanding of the user interface of 3D Equalizer and how to track the movement. Although there was an error on exporting node to nuke. Of course, due to language limitations, following the course is a bit difficult. I always need more time to understand what the teacher is talking about, and then look for the corresponding icon. But Dom gives us plenty of time to understand knowledge. I am very satisfied with this class, but new knowledge always requires repeated practice. Therefore, in the time after class, I followed the course of Dom again, which made me discover some missing knowledge points.
At first, I didn’t understand the purpose of the track and its principles in the first hour of the Dom course. However, after watching the 3D view in 3D Equalizer, I suddenly realized. Originally, the purpose of tracing under the two-dimensional perspective is to find the corresponding dynamic three-dimensional coordinates and the position of the camera under the three-dimensional perspective.
The following are some details I understand that should be paid attention to in 3D Equalizer. These small details are the key to success.
First of all, during the import process, we can change the Gamma to adjust the brightness of the video. The relative value is 2 or 2.2. This node is often used in the roughness map of MAYA.
Before tracking, we should also Expert buffer compression.
As for the most important work, it should be create point. How to find point is very important, first of all it has its uniqueness. The computer captures by analyzing the color changes of the pixels in the selected area, so after understanding the working principle of the computer, it will be relatively easy to create a point.
When dealing with the problem of edge lines, we should observe frame by frame and press the keyboard E key to end the track near the edge. This process takes time to process, but it is very critical.
Secondly, we should create as many points as possible, and these points are reflected in the foreground, mid-range and long-range. In this way, the position and movement of the camera will be more accurate.
Sometimes, we will encounter a situation where the chromatic aberration of the image is low, in which case it will be more difficult to create a point. For this, we can open Image control windows to adjust the color relationship of the video. This is very similar to the picture adjustment function in PS. Through adjustment, we can more clearly find some special marks as tracking points.
Talking about how to improve the accuracy of move track. In addition to constantly creating surprises, we have two methods.
One way is to hold down the ALT+C keys. After using result, find Deviation curve in Deviation browser.
Another way is looking for points with larger Deviation values to make changes and adjustments, and delete them if necessary. Make the average value of green closer to zero.
In addition, we can also reduce the Deviation value by adjusting the camera parameters.
First of all, we can find the exact parameters of a camera and modify it in Filmback Height. Second, turn on the adjust mode of Distortion degree.
Then click Adaptive all and adjust in the menu. Recalculate the camera lens, we will find that the Deviation value will be reduced.
In short, all the work is for more precise tracking. details make a difference.
Story circle can help anyone build a story structure well. Dam Harmon proposes to divide the story into 8 steps:
A character is in a zone of comfort
They want something
They enter an unfamiliar situation
Adapt to it
Get what they want
Pay a heavy price for it
Returning to their familiar situation
Having changed
We can divide Story circle into upper and lower parts, the middle line is the main source of drama. This dividing line is usually used to describe the way heroes are forced to adapt when entering a new environment.
In short, the division of upper and lower is the change of the external environment in the film. Another important division is the change of heroes themselves. It is usually divided into left and right parts. When crossing the middle line, heroes will face and try to overcome their inherent flaws or problems.
Analysis of WALL·E
YOU
Hundreds of years have passed, and WALL·E is the only robot left on earth. WALL·E works hard on earth, occasionally collecting some items it likes. One day, it found green and collected it. The arrival of EVE broke everything.
NEED
After EVE discovered green plants, he entered a state of shock. So WALL·E began to wait a long time. It needs company.
GO
WALL·E got on EVE’s spacecraft and came to the truth spacecraft
SEARCH
WALL·E is always looking for EVE on the spacecraft
FIND
WALL·E discovered EVE, but was speculated and dismissed by EVE.
TAKE
WALL·E helped the captain get green plants at his own expense.
RETURN
EVE and humans successfully returned to Earth.
CHANGE
EVE successfully repaired and awakened WALL·E. WALL·E got the life it wanted.
Story Arcs
Exposition: introduction of setting, characters, problems
Rising action: characters struggling with problems
Climax: tense moment of crisis
Failing action: movement toward an ending
Resolutin: final outcome
Shapes of stories
Kurt Vonnegut summarized the story into a beautiful curve. In other words, everyone has their own story, and the story curve is unique, and not all stories can have the perfect curve in the picture above.
The graph is a complex curve. Through the curve, we can observe that there will be relatively more information in the story. Such a story will be more dramatic. Before reaching climax, we will always encounter a lot of crises.
Types of characters
Protagonist: Protagonist is the protagonist in the story, but not necessarily all positive characters, such as the Joker in Joker in 2019
Antagonist: Antagonist refers to one or more characters that oppose the protagonist. In the same way, Antagonist is not necessarily a negative character.
Dynamic: Dynamic refers to the film, some characters have experienced some type of important internal changes.
Static: Static means that some characters have little internal changes in the story. They often did not learn important lessons and did not make any important changes
Round: Round means that some characters are rendered lifelike in the film. These characters have real emotions, conflicting emotions and multiple characteristics.
Flat: Flat is the opposite of Round. These roles are usually one-dimensional. They lack some emotional expression. The audience’s knowledge of these characters may be only part of the character’s characteristics. For other information, the audience cannot know.
Characters Archetypes
Hero: 1.Protagonist or central character
Mentor
Threshold Guardian
Herald
Shapeshifter
Shadow
Trickster
Allies（sidekicks）
These 8 archetypes are like 8 different employees in a company. They are used to keep the company running. Similarly, in the movie, these 8 different types of characters together support a film and television work with a complete story.
Therefore, for the integrity of the story, in the character design, we let the character include these 8 archetypes. If the film has less than 8 characters, then at least one of the characters has more than 1 character archetypes.
Analysis of WALL·E
WALL·E-Hero is the last robot on the earth, used to collect and compress garbage on the earth. 700 years later, Wali encountered a small problem that could not be solved, that was, he became self-aware, became extremely curious and felt a little lonely, so he had to rely on his pet cockroach, Hal. Wali diligently disposes of garbage every day, and excavates and collects human belongings along the way. Once through music, he learned about the existence and expression of love and emotional communication. Therefore, he began to have his own dream, which is to find the object of this emotional interaction and hold her hand. Appearance design basis: binoculars + square trash can. When you are afraid, you can retract your limbs and turn into blocks. Features: dirty, mixed with mud; earthy, unseen; single function, backward and cumbersome, The appearance design is rough, representing the characteristics of the old-fashioned robot, with only a pair of big eyes, helping him to express his personality characteristics: innocence, kindness, persistence, and timidity. Language skills: very poor, only reading one’s own name and imitating.
EVE-Shapeshifter: A smooth and exquisite flying detection robot, her task is to survey the plants on the earth to determine whether it is suitable for human survival. She has a scanner and a retractable ionization gun on her right arm, the latter allows her to deal with some minor troubles. Eve has no time for him to concentrate on work, until one day, she meets Wali, and the two robots have emotions during the day and night.
Appearance design basis: eggs
Appearance characteristics: white, smooth, streamlined, integrated design, can fly, offensive and defensive, the most advanced detection robot. Eve expresses his feelings mainly through a pair of electronic eyes. When he laughs at Walli, his eyes become crescent-shaped downwards. When crying, the crescents turn upside down, and become straight when he is helpless. I like to cover my mouth and laugh, with a femininity that is strong on the outside and soft on the inside
Captain-Shapeshifter
The sole commander on the spacecraft is doing routine routine work every day, repeatedly checking the status of the spacecraft. Like Wali, he also hopes to get rid of this unchanging boring life. After learning of the new discovery of the probe robot, the courage in his heart as the captain was finally awakened, and he immediately led humans on a new journey.
MO-Flat character
Responsible for cleaning up foreign contaminants on board the Truth spacecraft. When Wali boarded the spacecraft, M-O was like a big enemy, because Wali was the dirtiest robot he had ever seen. In order to remove the rubbish residue on Wali’s body, M-O chased after him, and a cat and mouse game was also staged immediately.
Spacecraft-Herald
The spacecraft is a spacecraft for humans to live in space after escaping from the earth. It is a super modern living space controlled entirely by computers.
The Truth is driven by artificial intelligence on board and is also the only villain in the animation.
Cockroach-Allies
Friends of WALL·E
Malfunctioning Robot-Allies
Supporters of WALL·E
Crew of the spaceship-Allies
Supporters of WALL·E
Timelines and backgrounds
Timeline：It can be more intuitive to show what happened at what time, using time as the axis to introduce the beginning, development and end of the story. At the same time, you can insert story fragments into the timeline by inserting and flashback.
Analysis of WALL·E
Background
The background of the story refers to the historical situation or real environment that affects the characters and events. The background, or the scene, can be extended to all works of art. It is often a contrasting relationship with the subject it represents, a master-slave relationship. It can promote the development of the storyline and characterize the character.
Analysis of WALL·E
In 2700 AD, the earth has long been harmed by humans and turned into a huge garbage dump. It has become uninhabitable. Humans can only migrate to other planets on a large scale, and then commission a robot garbage cleaning company to clean up the aftermath until the earth’s environmental system is restored. Achieve ecological balance.
After the humans left, the garbage cleaning company transported the robot Wall·E to the earth in batches, and installed the only instruction for them-garbage sorting. However, over time, the robots broke down one by one. In the end, there was only the only one left, continuing to work diligently in the garbage dump in this seemingly forgotten corner. Hundreds of years passed in a blink of an eye, and loneliness and loneliness became the eternal themes surrounding him.
Through this Wednesday’s course, I learned a new way to adjust the movement curve, in the graphic editor. For example, the overall adjustment of the movement. In addition, for the detailed adjustment of the action, we can also observe the motion path of the joint. It can also use Maya’s motion trail function through plug-ins. Observe and modify the actions of the character.
From the teacher’s feedback, two mistakes were summarized. The first is that my skip animation does not include the rotation of the head.
The other is that the movement distance between the two frames is too large.
How to deal with it？
First, viewing the movement path of each part of the character through Arc tracker, CV trail and motion trail.
Arc tracker
CV trail
Motion trail
Observing the movement paths of these joints, we can find that there is no problem with the movement of the character. Its movement path is not smooth. We need to fine-tune this. The following is the movement path of the foot controller after adjustment.
In addition to the smoothing motion path, I also added the rotation of the X axis of the head and exaggerated the movement of some joints.
The result is as the follow:
Render farm
In the practice of using human farms, I have a question. The question is if I assign a texture to the model, does the image rendered by the render farm retain the texture.
The result is that the texture is lost, and the rendered image is only the model rendering after removing the texture. The process is as follows:
First of all, I followed the course on Wednesday and successfully got the rendered test product quickly in the deadline plugin. This process proves that pipline is correct. Then I added normal map, basecolor map and roughness map to the floor. The rendering results are as follows：
However, after rendering in render farm I get the follow video
Extra work
At other times this week, I practiced the lighting system in Unreal 4. And try to design the lighting scene.
First find a picture of a cyberpunk car as a style reference.
Through analysis, we need a car model, a character, a wet ground, and a background that may appear. After quickly downloading the car and character models on the Internet, start making.
MIxer
I made a wet road in the mixer.
By hiding the layer, export 2 different materials. Its purpose is to be able to mix materials in Unreal 4 to get random ground textures.
Unreal 4
Then enter unreal 4 to determine the composition and assign the model material.
Observation found that there will be a lot of pure black in the dark parts of the car and the characters, which will lose a lot of details. Therefore, I tried lighting for the car and the character.
In this step, the background is too simple. Therefore, I changed the background lighting and added clouds and buildings on this basis.
After the final detail adjustment, the rendering results are as follows:
Through making project tests, I successfully learned how to use the lighting system in Unreal 4.
It is a 3D animation in dark style，telling a dystopia story. In this world, people are suffering from a plague. For the continuation of civilization, the government unify the consciousness of survivors to prevent evil and irrational
Imitation is a 3D animated short. The main character is a kid with bad habits such as smoking and drinking. By this film, I want to show that parent’s improper behaviors could greatly impact their child.
The project Mox is a 3D character modeling exercise; Mox is also the name of my character. He is a fictional creature whose appearance blends human and dragon’s features. I gave him the setting that he is one of the dragon warriors, the guardian of human beings. I intend to let him in raggedy clothing, showing that he is experienced and fearless.
The Barrier is a 3D animated short. It tells a truth that when social media is making communication online more convenient, it also put more distance between individuals in real life.
Rank is a 2D animated short in steampunk art style, telling an anti-utopia story.In the fictional world where the protagonist lives, nothing is more important than the rank of citizen’s score. After experienced so many frustrations and failures, the protagonist eventually found out that he should live his own life rather than succumb to the rank system.
Mise-en-scence comes from French and means “put in place” or “place in the scene.” Started to be used in stage plays. The director can control and adjust the depth, distance, position and relative proportion of fifteen in the film through the control of the position of the camera, the camera lens, lighting and decor. Effectively regulate the relationship between emotions and elements in the story world.
Actors：The director uses the change of the actor’s movement direction and position, as well as the dynamic and static changes during the communication between the actor and the actor, etc., resulting in different shapes and scenes of the screen, revealing the relationship between the characters and their emotional changes .
Location：The position of the scene can set the mood and support the action. For example, in a scene where a man proposes to his girlfriend, the family environment is set in a completely different tone from that in public.
Set design:Scene design is the objects and scenery in a scene. Scenes can not only be used to enhance the emotions of the characters or the tone of the film. You can also add more background information to the story.
Lighting：The intensity, direction and quality of the lighting have a profound effect on the image. Light can affect the color tone and depth, making us pay attention to a particular element in the composition.
Shot blocking and camera placement：Blockers collaborate with performers to determine their body position, gestures and movements on stage. In a movie theater, occlusion also involves calculating the position and movement of the camera, and may affect lighting, set design, etc. Lens blocking and camera placement are both effective tools to convey the status and relationship of the character to the audience.
Layout：The composition is carefully chosen to make up the lens frame and camera angle. Manipulating the composition can emphasize the emotional theme of the story and convey a meaning (or lack thereof) to the audience.
Space depth：空间深度是指人，道具和风景之间的距离，两者之间的距离与摄像机之间的距离有关。就像镜头阻挡一样，它可以告诉观众很多场景的色调和角色的状态。空间是浅还是深？这是否准确地体现了叙事的真相？
Movie film：Movie film refers to the appearance of the movie on the screen. Is it black and white or color? Is the film fine grain or grainy? How to choose depends on the film’s tone and story background.
costume：Costumes are the costumes worn by the actors and how to tailor them to suit them. In order for the costume to be effective, the costume designer must know which color is suitable for the character, and then coordinate it with the color suitable for the actor’s character and the color palette of the production design.
Hair and makeup：Hair and makeup are physical contacts that help actors transform into characters, such as artificial limbs, blood or aging techniques. Just like clothing, hair and makeup are the basic elements in the story.
For example
In “coco”, coco is MiG’s grandmother and Hector’s daughter. Coco is a bridge connecting MiG and Hector, which means that she is a bridge between the underworld and the world. At the end of the story, there is such a warm scene: MiG is kissing coco. Of course, creating a warm shot that can impress the audience is not just a close-up shot of the actors kissing and smiling. From the picture, we can clearly see that the color tone of the picture is red, which represents warmth. This is due to a soft red light on the left side of the screen. In the shadow of the picture, we can find the faint blue light to balance the picture. For Decor, the simple decoration behind the character: a table, a vase of flowers, a cross, and a candle. It represents a simple family’s belief in life and love for family members. All Mise-en-scence together constitute a warm picture. Even if we look at him as a still frame, it still allows us to feel the love and warmth between our relatives.
Visual Metaphor
As a kind of visual metaphor art, film is not only a monotonous, one-dimensional linguistic symbol, but also a variety of multi-dimensional non-verbal symbols. In other words, film communication not only has language and text symbols, but also a large number of visual, intuitive, vivid, and easily interpretable symbols, such as postures, expressions, scenes and their changing lens forms. These non-verbal symbols The extremely rich meaning of metaphors in movies has caused ambiguity and uncertainty in the interpretation of the theme of the movie. The audience’s aesthetic experience of those elements with visual metaphorical functions is an important reason for their success, and it also inspired the film industry’s enlightenment on whether commercial films and art films can coexist.
Essentially, visual metaphors are concepts represented by visual images. It symbolizes something much larger than the image itself, an incredible way of “showing” instead of “telling.”
It can convey large, complex, and emotional concepts without dialogue. It takes only a few seconds to gain insight into relationships, context, and tone.
For example:The son of a zookeeper
The focus of the film “The son of a zookeeper” is not to narrate a “drifting on the sea” illusory story, but to use this “drifting on the sea” scene to tell when similar encounters occur in life, the soul-to-heart collisions between life individuals produce mutual cherish Love, and a touching story that survived hardships. The presentation of this story, in addition to using artistic and aesthetic means, is also mixed with various special effects, especially in the performance of the kind-hearted juvenile school, the strong Bengal tiger, the fantasy sea and the lifeboat.
The great success of the film is largely due to Ang Lee’s constructing and designing elements with visual metaphorical functions such as people, animals, sea water, and ships. These elements are acquired through the director’s aesthetic experience. In a sense, it reflects the director’s mastery of the artistic and commercial film operation mode, especially the visually impactful, static and dynamic picture selection, organization and Control, let the audience immerse in it, endless fun.
The visual metaphor of the film is achieved by constructing and designing non-living elements such as water and boats, and living elements such as humans and animals, which provides inspiration for the coexistence of commercial films and art films.
Bronenosets Potemkin
In the famous classic work “Bronenosets Potemkin” in the history of film, Eisenstein, at the climax of the whole play, quickly combined the shots of three stone lions with different poses and powers to form the “Stone Lion Roar”. The image makes the emotional appeal of the film reach its climax. First is the lying stone lion, then the stone lion with its head up, and finally the stone lion with its front feet leaping and roaring. This metaphorical montage contains the full meaning of the people’s anger against the cruel and cruel tsarist system, which has reached the point of being intolerable . In addition, there are many metaphorical shots that have almost become formulas, such as the red flag symbolizing revolution, green pine symbolizing indomitability, ice thawing symbolizing spring or rebirth, flowers symbolizing happiness… and so on.
Mother
Through the analogy of the lens or the scene, it implicitly and vividly expresses a certain meaning of the creator. This technique often highlights some similar features between different things to arouse the audience’s associations, understand the director’s meaning and appreciate the emotional color of the event. For example, in “Mother”, Vsevolod Pudovkin combined the shots of the workers’ demonstration with the shots of the thawing of the spring glaciers, to illustrate the unstoppable revolutionary movement. Metaphoric montage combines great generality with extremely concise performance techniques, and it often has strong emotional appeal. However, this technique should be used with caution, metaphor and narrative should be combined organically to avoid being forced.
Film Asthetics
Film art has three characteristics: cultural characteristics, art special effects and technical characteristics. Cultural characteristics refer to social, contemporary, national and international; artistic characteristics refer to fidelity, graphics, time and space, acoustics and montage functions; technical characteristics refer to content, form, choreography, performance, shooting, etc. “
The specific content of film aesthetics includes: the aesthetic characteristics of the aesthetic essence of film art; the relationship between the creation of film art and real life and the process of image depiction; the development process of film art and the evolution of film art concepts, genres and styles; The creative law of film art and the aesthetic character it should have; the relationship between film art and other arts; the aesthetic value and social function of film art; the psychological mechanism, process, characteristics, meaning and methods of appreciating film art.
Film aesthetics is the abstraction and sublimation of film aesthetic consciousness. Its basic task is to study how to engage in the creation of film art according to the laws of beauty and the relationship and interaction between the subject, object, ontology, and receptor.
There are two major schools of film aesthetics: one is the montage (or technicalism) tradition; the other is the documentary (or realism) tradition
For example：
As one of the most famous contemporary directors, Stanley Kubrick broke the tradition of Hollywood movies. Because of his colorful narrative themes and unique narrative style, he is also known as the pioneer of “New Hollywood” movies. Kubrick’s films not only expanded the narrative themes of American Hollywood movies and broke the inherent genre framework of movies, but also had a great influence on the development of later generations of image creation, guiding image creators to explore in films of different themes unknown. Among his many works, the most famous is “2001 A Space Odyssey”. Kubrick’s movie “2001: a space odyssey” undoubtedly laid the foundation for the visual aesthetics of science fiction movies. The philosophical propositions and brilliant audio-visual construction in the movie are still full of charm.
From Yingshi’s works, we can find many symmetrical compositions and bold colors. With the aid of computer technology, the visual effect of the movie has been successfully promoted to the extreme, and it has also successfully embodied people’s infinite reveries about the future of science fiction.
Color Composition
This kind of color layout and color structure formed by a specific color tone of a film is also known as the film color score. The color composition of a film often includes the following factors: the color modeling of the characters and the environment, the color characteristics of each scene, the color conversion between scenes and scenes, shots and shots, the color relationship within a single shot, and colors with specific meanings. The depiction of details. Color composition includes the processing and techniques of film color, which constitutes an organic whole to reflect the idea of color score.
Personal summary: Usually, in a specific scene, there is an overall tone first. On the basis of the whole, we can add complementary colors and other colors to neutralize. In the process, it cannot affect the overall big color.
The central idea embodied in the film through the depiction of main colors. This is the process by which the author has made long-term observations and reflections on life, accumulated a wealth of material, and then used film thinking to select, tailor, choose, and refine the material, turning it into a theme. The theme color composition occupies a dominant position in the film. It will command the characters, plot, details, dialogue, performance, structure, and even various expression methods in the film, so that it can serve the embodiment of the theme color, and use the film The completeness, harmony and unity of color art are presented to the audience.
The color of the theme must be bright, but the way of expression must be subtle. Usually through contradictions and conflicts, character and destiny, through the development of the plot, and the depiction of details, it naturally reveals itself, and the theme is revealed step by step through the meticulous step-by-step bedding and color design.
For example：
In the film “Red”, we can see red as the main color, almost everywhere, it constitutes another role of the film participating in the narrative, becoming an indispensable language. The whole film is about love, but it seems that it has nothing to do with the red hot love. Through red, the film explores a kind of fraternity, a kind of love that is not limited to life and death between men and women. Red is used as a clue to “love” throughout the film. The red jacket symbolizes the faded love in memory.
Joker
The movie Joker expresses the contradictions and conflicts between classes. The color tone of the film uses the classic red and blue of the clown, while the orange and blue are complementary colors, which have a strong contrast and conform to the setting of this movie.
The Matrix
The Matrix is a good example of monotone film color matching. Almost every scene in the movie’s world has a green hue. Green permeates everything, creating an illusory, “hypnotic” effect (representing the “sleepers” in the Matrix).
It is not difficult for us to think that the green of computer chips, the green of programs… Green represents mystery and has sci-fi colors.
Rhythm
The rhythm of the film can be divided into internal rhythm and external rhythm in form. The internal rhythm is the internal rhythm of the lens, and the external rhythm is the rhythm of the lens combination, that is, the editing rhythm. Internal rhythm mainly refers to the speed and intensity of character movements based on plot development, the speed and direction of camera movement, the coordination of music, sound, color, light and shadow, etc. External rhythm mainly refers to the rhythm of the film caused by editing methods, including the perception of time, the rhythm of vision, the rhythm of hearing, the rhythm of movement, the rhythm of color, the rhythm of narration, etc.
Feeling of time
A person’s sense of time is affected by his specific mental state. For example, when we wait to take a bus, the time will be extra long, and there will be relatively little information in the movie at this time, which will make the audience feel a relatively slow pace. The opposite is faster.
Visual rhythm
The visual elements in the film: light, color, lines and contours are constantly changing. Rhythm is produced through the changes of various motion laws.
For example：Diarios de motocicleta
When the motorcycle travels from far to near on the curved road, the originally static horse route is joined by the camera, presenting a dynamic and constantly changing curve. At this time, the immobile road has a sense of rhythm.
Auditory rhythm
The sound in the movie is not only through drum beats, but also the change of melody to express the rhythm of the plot. It can also reflect that the orientation of the space does not change. This hope is a variable factor in the formation of rhythm
Movement rhythm
The rhythm of the movement, as the name suggests, is determined by the speed of the movement. Sometimes the movement of the camera can also produce rhythm. For example, when a thief steals something, he will first slowly approach the object step by step. The rhythm at this time is slow. When the thief is found running away, the rhythm will instantly increase.
Color rhythm
The contrast of color in a movie is very rich. With the change of the plot, the rhythm of the color will also drive the plot to a high or low point.
Narrative rhythm
The rhythm of time, plot, or character development in the film, which includes plot rhythm and emotional rhythm.
For example, in the fast-paced “Inception”, the first suspense occurred in about 8 minutes. The audience is always relatively nervous when receiving information.
