Animators should have a certain amount of performance experience, and look at animation critically, integrate emotions into the role, resonate with the role, but also need to keep a certain distance from the role, so repeated, in order to create a convincing performance. For example, create a character profile: Who am I? Where did I come from? Where should I go? What is my background? What is my personal data sheet? Which situation am I in? What is my network? What's my topic? Frank Gladstone, former director of training at DreamWorks SKG and CEO of his own company, Gladstone Film, believes animators have a responsibility to create characters that not only fit the sound but can perform without sound cues. The more kinesthetic an animator is, the better equipped they are to depict various characters and show the nuances appropriate to that character. The process can be grueling, but it's also necessary to connect with the characters and feel their emotions frame by frame, Often spend a lot of energy to create a few seconds of wonderful moments (Giesen andKhan,2018, p3, p35, p36,p37, p50, p131, p132, p133).

Giesen, R. and Khan, A. 2018, Acting and character animation: the art of animated films, acting and visualizing,1st edn, CRC Press, Boca Raton, FL.

His films will have unique main colors, representing different moods and emotions (Portrait photographer Jianguo, 2022, 00:54). In addition, many of his lenses will shoot people through various reflections, such as mirrors, and create double shadows, like a Mosaic mirror, which has a dreamlike feeling. But I think excessive use can be distracting.

There are also a variety of unique angles, there is a feeling of peeking, such as from above the clothing figures, the figures are in the corner of the picture, or the various corner objects as foreground objects to block the lens, shooting characters from the gap.

Use music for inspiration while shooting. And the music in the film is very classic.

Finally, there is a very unique shooting method that I find very interesting. The camera is shot at a slow speed, the hand is shaking the lens, and the characters move quickly in the foreground to create the feeling of dragging, while the protagonist moves in slow motion and finally draws the frame.

Flowers (2023) Directed by Wong Kar-wa. Available at: Tencent video (Accessed: 5 June 2024).

Portrait photographer Jianguo, 2022, Why is Wong Kar-wai called the "genius" of Chinese film? ! Wong Kar-wai, aesthetic, photography, video commentary, film, photography course, Available at: https://www.bilibili.com/video/BV1LW4y1E7EQ/?spm_id_from=333.1007.top_right_bar_window_history.content.click&vd_source=be56983c34497f048acdce44d54f66c0 (Accessed: 5 June 2024)

Foreground, medium and close-up can effectively build the depth of the scene. Hitchcock once pointed out that the size of objects in a picture should be equal to their importance. (Brown, 2016, p30).

When using a wide-angle lens, the distance between the front and back of the object will be farther than it actually appears, resulting in a mental suggestion that the increased space makes the movement of the lens look more athletic and present. Telephoto lenses are the opposite, which can intensify the sense of speed and exaggeration of the movement of objects. (Brown, 2016, pp. 31-36).

Selective focus: Focus on the main character to blur the background, so as to achieve the purpose of guiding the audience's eyes. Selective focus and perspective can create a crazy, dizzying feeling. The focus is usually on the speaker or the main character. (Brown, 2016, pp. 38-39).

The Angle of view is simulated by the height of the camera, and different heights will give hints. For example, a high Angle, a overlooking position, can increase the psychological height of the audience, thus creating a small image of the subject. In addition, this method is often used to photograph the overall layout, or the illustrative view (God's view). And low angles to create a sense of oppression. Finally, there is the tilted view, the non-horizontal state which can increase visual tension and create mystery, anxiety. (Brown, 2016, pp. 42-44).

Brown, B. 2016, Cinematography: Theory and Practice: Image Making for Cinematographers and Directors, Taylor and Francis.

In the performance, it is necessary to enter the drama, feel the emotions of the role itself, bring yourself into the role, study the character of the role, unify the consciousness and action, perform the state of the role naturally, romantically and truthfully, and narrow the distance between the audience and the role.

The performance of each role can not be copied and pasted, each role should be given a different style, each role is a fresh life. The performance should be real, logical, coherent, in tune with the characters, and in the same state.

In studying the script, studying the character, you can repeatedly ask yourself, who am I, where am I from, what time is it, what am I going to do, why am I performing this, what do I have to do to complete this performance, understand the causes and consequences of the performance, in order to reach higher heights.

Who, what, when, where, why, how

In daily life, we should be like bystanders, observe our own performance from time to time, observe life, imitate natural things, and compare our performance with real life situations and our own experience, reflect on it, find deficiencies and improve it, so as to improve ourselves. Act, observe, act, observe, over and over again.

I'm Lee. look at, 2020, [Actor Self-cultivation] Experience VS Expressionism, Available at:

https://www.bilibili.com/video/BV1sy4y1e74B/?spm_id_from=333.788&vd_source=be56983c34497f048acdce44d54f66c0, Accessed: 11, 15, 2023

I'm Lee. Look at, 2022, the history of Experiential and Expressionist love and murder. Available at:

https://www.bilibili.com/video/BV1au411v75e/?spm_id_from=333.788&vd_source=be56983c34497f048acdce44d54f66c0, Accessed: 11, 15, 2023

When composing, the space above the figure should not be left too much, but it should not be cut off from it, unless it is a close-up shot. In addition, the visual direction of the actor also has visual weight, when the camera is shot from the left or right, it should leave enough position in front of the line of sight, if it does not do so, it will make the picture look cramped. Also, usually the character's feet are not cut off in panorama composition, the frame should be cut around the character's knees or fully include the foot, the wrist is the same. Of course, they can be clearly in and out of the picture during the performance. When multiple characters appear in the picture, all but the main characters should be blurred, or if possible, avoid them all together, also, do not cut the head, it is too scary.

(Brown, 2016, pp.13-28).

Brown, B. 2016, Cinematography: Theory and Practice: Image Making for Cinematographers and Directors, Taylor and Francis.

In this seaside scene in the clip, a man sits anxiously on a beach chair, keeping a watchful eye on the shoreline, knowing that a dangerous great white shark has recently been in the area.

The film begins with a young boy coming out of the sea looking for his mother and wanting more time to play with his surfboard. After getting permission, he walked toward the tent on the shore to retrieve his board, and with the corresponding camera movement, brought out a man sitting in a chair who had been watching the shoreline. Later, another shot returns to the ocean, where a dog and another young boy dive into the depths of the ocean, seemingly hinting at their shared fate.

The scene that follows is my favorite in the whole movie because it uses people walking in the foreground to block the shot, Narrows the field, and cuts back and forth between the sheriff and the sea, effectively creating a sense of unease, tension, and anxiety. Moreover, I found it interesting that the sheriff's eyes rose from his shoulders and moved his chair to the side when someone was talking to him and obscured his view, without obstructing his own view. Moreover, when someone suddenly screamed from the sea, he immediately moved his chair. All this adds to the sense of urgency in my heart.

Finally, the man-eating shark appears, setting off all the foreshadowing before, and everyone is in a mess, and at this time, the director uses a "Hitchcock lens" to move the camera and change the focal length, so that the depth of field quickly becomes distant but the subject is gradually getting closer, with a hint of shock, urgency and dizziness. In addition, I think the sound is also a part that cannot be ignored. The dense and fast rhythm also serves as a good foil to the atmosphere of panic.

Jaws (1975) Directed by Steven Allan Spielberg. Available at: Tencent video (Accessed: 5 December 2023).

The word emotion comes from the Latin emovere, meaning "to disturb."

In this book, I saw the author's descriptions of the actions of infants and elderly people to express their emotions.

Babies only know two emotions:

"Anger: The upper eyes are pulled on the face, the eyes are bulging, the edges of the lips are rolled inward and pressed tightly.

Joy: The muscles around the eyes tighten, the "crow's feet" wrinkles around the eyes, the cheeks lift, and the corners of the mouth tilt.

Older people have five more basic emotions:

Fear: Eyebrows pulled together. The upper face stopped, eyes wide open, lips stretched horizontally.

Disgust: Eyebrows pulled down, nose wrinkled, upper lip stopped, lips loose.

Sad: Inner corner of the eyebrows, eyelids loose. Lip Angle pull.

Surprise: The whole eyebrow stops, the eyelids are pulled up, the eyes are open, the mouth is open, and the jaw will drop slightly.

Contempt: Pull the lip Angle up on one side and back on the other. Half of the upper lip is tightened"(Giesen and Khan, 2018, p45, p46).

I also learned something about body language. Our emotions, health, personality, age, gender, and cultural and social background all make us behave differently. In some situations, we will subconsciously make certain actions, so that others can understand our true thoughts, and we can not disconnect this physical transmission of information. Such as lowering our heads, raising our chin, crossing our hands, and avoiding our eyes, these are all subconscious actions that we use to mask certain behaviors and emotions. And vice versa, we interpret the actions of others based on our personal experience to understand what they are really thinking. For example, "first impressions" are stereotypes we make when we first meet a stranger, based on his appearance and body shape, rather than an understanding based on character, soul, and emotion (Giesen and Khan, 2018, p177).

Giesen, R. and Khan, A. 2018, Acting and character animation: the art of animated films, acting and visualizing,1st edn, CRC Press, Boca Raton, FL.

So I think it's very important to have a good reference when we're making animations. We need to feel the feelings of the character, simulate the real situation, bring ourselves into the character, think and understand the real thoughts of the character and how he will react (Giesen and Khan, 2018, pp179-180).

Giesen, R. and Khan, A. 2018, Acting and character animation: the art of animated films, acting and visualizing,1st edn, CRC Press, Boca Raton, FL.

Flowers (1994) Directed by Luc Besson. Available at: Tencent video (Accessed: 5 November 2023).

https://www.bilibili.com/video/BV1NF411172W/?spm_id_from=333.999.0.0&vd_source=be56983c34497f048acdce44d54f66c0

我是李看看 【演员自我修养】体验派VS表现派 2020-12-30

https://www.bilibili.com/video/BV1sy4y1e74B/?spm_id_from=333.788&vd_source=be56983c34497f048acdce44d54f66c0

我是李看看 体验派 & 表现派 那相爱相杀的历史 2022-03-27

https://www.bilibili.com/video/BV1au411v75e/?spm_id_from=333.788&vd_source=be56983c34497f048acdce44d54f66c0

1. In the process of performance, the body and mind are combined with each other and are circular.

2. The invisible performance is the most effective (there is a saying widely circulated on the Chinese Internet: invisible faking is the most deadly). At the same time, we also need to consciously create a good atmosphere. In other words, acting is conscious, and the actor needs to think and analyze the unconscious movements, think about why they were made, and artificially improve them to express them in a better and more appropriate way.

3. Performers need to be more imaginative and combine real life, mental activities and gestures to understand and create performances that suit them.

4. Everything that can be seen is a whole, including the environment. These factors are interrelated, affect the whole and affect the whole body.

5. Art is free, we need to have a dialogue with ourselves often, get to know ourselves deeply, and find the most suitable way to exert the greatest influence, and even influence others. In my opinion, this is just like the aura, on the set, a good actor will inadvertently influence others' performance, make them play out of order, or lead them to have better performances.

To sum up, I think we need to have in-depth communication with ourselves, dissect ourselves, understand ourselves, observe life, find inspiration from life, learn from experience and improve ourselves. In addition, I think everything presented in the picture is well thought out and natural, not random.

I'm not Chu Liuxiang, 2023, Michael Chekhov: A Guide to 5 Principles for Actors - Leonard Pettit, Available at:

https://www.bilibili.com/video/BV1NF411172W/?spm_id_from=333.999.0.0&vd_source=be56983c34497f048acdce44d54f66c0 (Accessed: 2023-08-17)

I am a sixteen-year-old high school student.

Where am I?

I'm at the door.

when is it?

Nine o 'clock at night.

What do I want?

I wanted to sneak in without my sister seeing me.

What do I do?

I gently pushed the door open, tiptoed in, and closed the door.

According to the feedback I reduced the different field of view and used the same camera when switching lenses.

I also learned some cultural differences, so I adjusted the plot and added a wide shot.

In addition, I've been debating whether it's better to be surprised by a phone alarm going off or a broomstick falling down in the yard.

But this body just disappeared for whatever reason, stuck?

Throughout the short, the image not only has its own meaning, but also conveys tone, atmosphere, and subtext. Reliance on voiceovers, dialogue, audio, text or other explanations should be reduced. This means that the picture must be complete and convey all the information.

Objects in the composition of the picture should not be randomly discharged, but should consider their weight in the picture, that is, size, shape, color, order, dominant position, level, pattern and other elements, to give meaning to everything in the picture, add the story sense and visual power of the picture and balance the relationship between various elements. Even if it's chaotic, the whole picture is a whole.

Visual tension

Objects in the picture will create visual tension when placed together, and we should arrange them rhythmically, such as the Golden section, the nine point method or the rule of thirds.

Avoid the appearance of things is meaningless, and can not fill the picture with things, appropriate white space will make the picture become lively, there are objects can create positive space, and the missing part is negative space. The absence of this element also has visual weight. In addition, it can use the space outside the picture. Of course, it can also be used in reverse to achieve different effects. In addition, the objects in the picture have directivity, whether it is an obvious line of sight, a curve or a line of intermittent points, which can guide the audience's line of sight well. Almost everyone has a similar reading order, from left to right, which is also a good way to guide.

Compare

The contrast of the picture can effectively show the depth and spatial relationship of the scene, and can express emotions, so that the picture has a story. In addition, the relative size and overlap of objects can also be a good indication of their front and back positions.

(Brown, 2016, pp.13-28).

Brown, B. 2016, Cinematography: Theory and Practice: Image Making for Cinematographers and Directors, Taylor and Francis.

The side light, the contrast, the shadows, the angles, the movement are all essentially part of the story, a narrative device. Faces blocked by shadows, darkened rooms, characters coming out of shadows, etc., will have a sense of mystery, evil, and the light will be positive. The use of lighting to show the character's inner emotional state. Finally, there is the flash of the flash, which affects concentration and gives the illusion that time has stopped.

There are also many lighting methods to create characters, such as Rembrandt light, butterfly light, top light, bottom light and so on.

(Brown, 2016, pp.46-59).

Brown, B. 2016, Cinematography: Theory and Practice: Image Making for Cinematographers and Directors, Taylor and Francis.

The yellow ones are the weekly mission videos， the red ones are improvements and blue is the weekly study.

In white are some problems, solutions, notes and others.

There was also some feedback and reflection in the comments.

Hold down the middle mouse button and move the mouse right to view the content on the right.

In addition, based on the feedback, I re-checked and adjusted the balance of the girl's posture when entering the door.

On November 7, I learned how to build a well-rounded portfolio for job applications.

November 8 is Lucy's character design, using simple and clear shapes to summarize the characteristics of a character, so that it is impressive. In addition, TT's teacher saw my weekly tasks in the afternoon, and she still thought that my understanding of animation style was not clear enough, which is really what I need at present, and I am very grateful to her.

I saw a lecture on Barbie and Star Wars on November 9. In fact, Barbie talked about virtual filmmaking techniques I had already known before. But I do like Aardman's stop-motion animation. There was also the last lecture by Disney animators. What impressed me most was the use of the focal length of the lens in the dialogue and the proper blurring of the background, which allowed people to focus their attention on the dialogue of the characters.

Unfortunately, I didn't have much to write about the visual effects on the last day. All in all, it was a very fulfilling week.

The second is to add the wrong attempt to the action, which I just understood.

Third, add small actions.

Fourth, don't make eye contact all the time. Not really, but I'll get to know more about it when I'm on the facial.

Finally, different ages will have different postures, haha, this is what I have learned.