For the background, I knew from the start I wanted to do something funky and was mainly drawn to the marbling process. I started by doing lots of different samples on different types of paper. to see if there would be different outcomes and there definitely was.
Purpose of the Marbled Background:
By having the marbled background, it begins as a calming tranquil experience as if it is water. However, as the animation and story get more chaotic, this feeling will dissolve and become more chaotic adding to the intense atmosphere. I also feel like, during 2020, there was always an uncertainty in the air, as if something was always lingering waiting to happen and this is mirrored through the use of this background.
Process:
Paper marbling is a method of aqueous surface design, which can produce patterns similar to smooth marble or other kinds of stone. The patterns are the result of color floated on plain water, and then carefully transferred to an absorbent surface, such as paper or fabric. In my case, I used a range of paper as testers to see which would be the most beneficial to use for the look I was going for. Whilst testing, I found that it was best to use cold water rather than hot water as the ink would spread better and not stay in one bubble, it would also allow the ink to absorb better in the paper.
When left in the water longer, the ink would appear darker and would resemble marbled rock a lot more:
I decided I wanted a weaker print that wasn't as bold as I would be animating on top of it in black so I need the animation to be more prominent rather than the print. For this, I used a thicker watercolour paper which would take longer to absorb. So instead I left the paper in the water for around 20 seconds to make sure the paper was stained and then I rinsed it under the sink to get the excess ink off. I was really pleased with the results of this as I also found that because I used thicker paper, the watercolour paper lines weren't as visible as they were in the testers I did (as shown above).
At the beginning of my storyboard, I needed some of the prints to only fill the page a certain way up so that it looked like the angle was changing. This was achieved by dipping the paper into the water to the desired height rather than just placing it on the surface of the water so the ink can be absorbed.
I ended up with two stacks of prints, one stack that contained pages that were fully dyed and the other with prints that only covered certain sections of the page.
DRAGONFRAME:
I created roughly 40 prints. What I love about the outcomes is that each of them are different and can be reused and rotated so it's not recognisable. I used the dragon frame set up in B131 and mainly used it to do the background. I did have some issues at the start with figuring out how to sort the exposure. But I soon found that in the cinematography section there was an easy adjuster to fix the exposure.
I messed around with how many frames per second would be best to work with. I found that keeping it at 24 was perfect. I also only needed to capture all the full-page sections of the prints and then the bits that were moving down
If I needed more footage, all I need to do is take the footage above and edit it on premiere pro to crop and duplicate sections. And because I decided to do the animation digitally ( if I get around to it) I didn't really need dragonframe anymore after this.
Comments
Post a Comment