clean up &add text
process
zdefocus can use one point to adjust the depth of field in the picture, and adjust the output to focal plane setup to use green, pink and blue to see where the focal length is more clearly.
Rotopaint adjusts stroke writeonstart to turn written text into animation.
Initially, I wanted to make a picture of snow and wind, but the difficulty I encountered was that it was difficult to make the mountain look like it was covered with snow. After adding the ramp and roto nodes, the mountain is more like frozen into ice, so it gave me inspiration. I simply let the hot air balloon be frozen into ice and fall to achieve a more interesting and creative effect.
The technical problem I encountered is that the order of a and b in merge3, if the hot air balloon is on top, it will be blocked by the ramp before 1040 frames, and vice versa, it will be blocked by mountains after 1040 frames. My solution was to duplicate a new hot air balloon and make it disappear after 1040 frames, and the two hot air balloons appeared at different time periods.
This poster taught me the tracking with perspective relationship (rather than the tracking of 2d plane), using cornerpin2d5 to control. I learned to add more pipes in the middle of roto when doing roto, because this is the interference content, which can make nuke calculations more accurate.
In this lesson, I repainted the roto paint, mainly paying attention to the weight when the head is raised, so that the mouth can just open. In addition, because the corner of the mouth is not straight when opening the mouth, it has to be a little behind, so keyframes are added to the shape edit and controlled by the driver.
Then I lit, rendered the sequence, and put it into pr for compositing.
In this class, I learned 2D tracking, and then used cornerpin to adjust a picture of any size so that it can completely match the original picture. I also came into contact with dissolve and retime nodes for the first time, and knew how to use them. Dissolve plus k frames can make the picture from transparent to visible, and retime can adjust the time. Then take out the finger roto and let him be on top of the screen.
The authenticity of a documentary is ‘deeply linked to notions of realism and the idea that documentary images are linked to notions of realism and the idea that documentary images bear evidence of events that actually happened, by virtue of the indexical relationship between image and reality’
Horness Roe. A. (2013) Animated Documentary. Basingstoke: Palgrave Macmillan.
Honess Roe (2013, Animated Documentary) argues that there is a profound connection between images and reality in documentaries. We can prove the authenticity of documentaries by the following facts: documentary images to some extent provide evidence for what really happened in reality.
In 2008, Waltz with Bashir was nominated for best Foreign Language film. While receiving praise, “Waltz with Bashir” has also sparked several debates about whether animated documentaries can be called documentaries.
In my opinion, documentary is to record reality, with reality as the core. The controversy about Waltz with Bashir focuses on “the legitimacy of the existence of animated documentaries”, but in fact, it focuses on “whether the form of animation can represent reality”. First of all, for the definition of documentary, I agree with the view of the Soviet film “Movie eyes send” to some extent. Soviet documentary film director Jiga Vertov believed that the film camera is just like the eyes of people, or even better than the eyes of people. He advocated that the filmmakers hold the camera to “capture life by surprise”, and opposed artificial acting and even general acting films. They truly record reality and guide the audience to reach a clear ideological conclusion, which restores the purpose of documentary “recording reality” to the greatest extent. Secondly, the subjective and objective problem is also one of my doubts about animated documentaries. In the documentary, the director may use montage to guide the audience to understand subjectively to a certain extent. But in animation, the director can make more subjective decisions about shooting and montage. Finally, going back to the film, there are many fictional animated images that represent the memories of those who were there. Memory itself carries some subjective, fictitious falsification and so on.
To sum up, I don’t think animated documentaries can be considered documentaries. In fact, “using animation technology in a documentary” is a very broad way of expression, because animation technology provides a good way to reproduce the irreversibility of the scene. A small amount of technology assisted implementation, will not change the nature of the documentary film. And animated documentary lacks real shooting.