As the faces in the previous rig were used solely for figuring out whether or not the rig would work, we had to update them and make them look a lot more refined and professional.
Since our film was going to be fast-paced with a lot of cuts, we wanted to have some very comprehensible visuals. We found this website called Flooby Nooby, and a section on that website broke down nearly every shot in the film The Incredibles (2004). We drew a lot of inspiration on how to stage our shots from there.
Here are some of my attempts at trying to create clear and purposeful cinematography in Toasted:
I swear we didn’t make this simply because we were bored. We wanted to see if, by filming this video, we would discover any new angles or ways of portraying an action that we hadn’t thought of in the animated and playblast animatics. We did like the “Ping” scene and the angle change when the toast pops out of the toaster in this version much more than the previous two versions.
By shining two spotlights through the window we managed to light the critical stage of our scene, that being the breadbin and the counter top where the toaster and other appliances sit. The slightly different angles of lighting provides a weird distorted sense to this world, or it could just mean that there are two street lamps outside. Either way, it provides a nice effect.
Lighting was going to be very important in our final animation, as we had wanted a bright light source coming from the window, and dark shadows being cast from the main characters.
We first looked at Conann’s lighting tutorial that he shared on Blackboard to give us an idea on how to properly light the room. We then found this article, remembering some feedback from the day before stating that there was no sense of dread or urgency in our animatic:
We figured that the best way to get across the sense of horror in a very mundane situation was to add some creepy and dramatic lighting. We followed that article, and then I remembered the master of suspense himself, Alfred Hitchcock. I looked at some of his famous thrillers for inspiration:
The lighting is broken up by some kind of horizontal bar (blinds) and gives the shot a much more intense atmosphere.
The very dramatic back-lighting silhouettes the person, making him seem very intimidating.
In the famous shower scene in Psycho we never see the killer’s face (though the silhouette implies it is Norman’s mother, spoiler alert: it’s not) so it is a great twist when we find out it is actually Norman himself is the killer. The back lighting is what creates the very dark shadows.
All these movies are indeed in black and white, and relied heavily on lighting to create atmosphere and emotion when colour was not available, but we were going to try to incorporate some of this classical lighting mindset to try to up the tension in our animation.