Chapter 11 Response

It appears that compositing allows for a number of effects that can push something further and make a more provocative effect. In using particular tools in order to attain the effects desired one can achieve color accuracy or make it suit the color palette chosen for it. Thus enhancing the visual with the change in color through: blend operations, alpha channels, and splines (masks).

Chapter 9 Response

I'm not keen on taking risks but will will try things that come to mind. I have no problem with looking things up but I don't usually though I'll mentally reference things that I've seen done before and use it.
Storyboards and animatics I have found invaluable, Storyboards being the most useful to me. I can estimate theme that it will take in order to animate something then change it once i get to the actual animating phase. Not to discredit animatics, they ensure that before you do the full fledged animation that the timing is just right and you can see a preliminary version of the final product.

Chapter 8 Response

I realize the importance of storytelling and how pacing is essentially everything when it comes to translating it. I you tell a lateral storyline it is very straightforward but it must also be kept in mind that only so much can be shown to the audience otherwise it will confuse them so parts will have to be removed for clarity. Lingering on a scene, object or action it is suddenly given importance, the less time one has with a visual the less important it is to the audience because they aren't given the time to acknowledge it.
One can benefit from a montage as a means of hinting at what is going on over a span of time without having to go into great detail.

Chapter 10 Response

I 've heard the word interpolation when it came to the default on camera movements in Cinema 4D but the other forms of interpolation I'm unfamiliar with. But when reading the descriptions I've used them in both 3D and 2D animation before: spacial interpolation, visual interpolation and temporal interpolation. I'm glad to know the technical terms for what I've been doing now, I've been trying to increase my knowledge in the vocabulary of the field of animation and since these are such integral things I feel that its important to know.

Chapter 7 Response

There are a lot of things to consider when it comes to the principles of design. And an emphasis on spatial depth that activates a space that is 2 dimensional and making it appear 3 dimensional.
Changing the way something looks simply by changing the angle of the camera and how it relates to the edge of the frame to give it a dynamic quality.
I usually go for the straight forward narrative when animating rather than doing vignettes or having pieces that don't connect, versus when I write a story I don't generally start at the very beginning.
When I think of presenting things I think linearly how things begin and when they come to an end. I don't always go into what kind of camera angles I'm going to use but more so the general direction that the camera will move along in the space that I've provided for it. When text is involved it becomes less graphic and more of a symbol/character that means whatever the word entails and nothing more. I don't like dressing it up.

Chapter 6 Response

I will admit that there are times when it's hard to think of a letter as anything but a letter, it's been drilled into our heads that is what they are. To put the spin on them that they are actually just shapes that create the forms that we recognize as letters is  challenge but once they are turned into moving characters it becomes easier to understand. Through this movement they evolve into a new state of being that through choice of typeface, energy of movement and camera approaches they can become dynamic structures.

I briefly went over typography in my graphic design class back in high school and was reminded of it in web design so the terms covered on page 194 I've seen before (it just tends to slip my mind).

Animations 1