WOW! FloobyNooby has just posted a very detailed and extensive breakdown from Pixar’s Incredibles of “ how the relationships of all the visual elements on. Apr 25, Flooby Nooby: The Cinematography of “The Incredibles” Part 3. Oct 9, Flooby Nooby: The Cinematography of “The Incredibles” Part 2.

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While it helps to use tone as shadow, you don’t need to know advanced lighting techniques to add this aspect to your drawings.

Hoytema frequently frames his shots with long lenses, allowing vertical and horizontal lines to remain parallel to the edges of the frame, giving the feeling of the shapes within the frame. The fruit of great art comes from the roots of studying, observation, and hard work.

Imagine a tic-tac-toe board over your viewfinder and position the subject along one of the lines or at one of the intersections. Suddenly you notice a whole lot more lines than the partially filled piece. You can also think of it as the back bone of a character.

Number your shots so that they can be quickly referred to on the shot list, during editing, or when you are pitching the boards to someone. The purpose of all composition in comics, storyboarding, graphic design, illustration, or filmmaking is to achieve clarity in the visual layout and presentation of the static or moving image.

Another method is to create a strong line of action through your character. Drawing storyboards is an excellent way to keep motivated, to show you’re organized and to let booby else know what’s going on in your head.


Flooby Nooby: Disney’s Atlantis – Concept Art

This time around, however, certain sequences were shot entirely floogy superwide lenses in the 65mm Imax format. When a zoom lens is framed on characters, it isolates and focuses the subject. You can’t come back! Both within the character’s pose and the angles betwen different characters on screen as well. Foregrounds and Backgrounds.

In The Shining’s boxy aspect ratio, the converging lines give the audience a creepy, uneasy feeling, as if the world is boxing us in, forcing claustrophobia upon the audience and the characters– all of which are strong themes in the film.

Where exactly are you supposed to look? So don’t be embarrassed to trace over things, you will learn a lot. Even a close-up should have a bit of breathing roomunless it is the rare occasion of an extreme close-up. Here is npoby pitch Exit 73 Studios created for Nickelodeon that was ultimately turned down, but it gives you a glimpse into their pre-production process. The intensity of the shot is further increased by a small depth of view and the dynamic, diagonal lines that the fluroscent lights form.


A floby, conspicuous visual motif of Christopher Nolan’s “The Dark Knight” is the bold use of converging lines of perspective. Curved lines can add soft elegance. Hoytema’s images have straight lines that are parallel to the edges of the frame, emphasizing, coldness and geometric precision.

You can only draw what you know. No one in real life does it either, even army kids don’t stand completely up and down, their backs are slightly arched. That’s a very tough limitation, and you need to keep your “objective eye” in check, so that you can step back and look at your work once in a while and see it the way fresh eyes will see it.


It makes them clear and understandable and gives them a distinct non-ambiguous direction.

In Stanley Kubrick’s “The Shining,” for example, the converging lines of perspective gave the film a claustrophobic feel, as if the walls of the Overlook Hotel were literally collapsing onto the mind of Jack Torrance Jack Nicholson. If the man at the coffee shop is putting a couple of creams in his coffee, there is no need to make a special emphasis on that action; so I would not cut in closer on him pouring in the cream.

You can’t quite see it with these scans, but there are faint sketch lines visible on all the clean-up drawings shown here.

I was happy with the drawing, but it didn’t help move the characters and the story forward.

Click on any of these drawings to see a BIG full-sized scan! You noby think it but Homer moves more like a real human than you think. Or find someone you trust and bounce it off them once in a while. A color script gives you a good look at how the color arcs in a film relate to the story. Check out this short sequence by Megan Nicole, Straight-forward and effective body language and expressions, with simple shot compositions that help to tell the story.

Move it from the middle: