Choices for My CCR's Animation and Audience Engagement

My main goal as I start to prepare my critical creative reflection (CCR) is to use unique ways to convey my opinion to my audience. I had to do some in-depth research of different animation methods, such as AI and normal animation, which are my main choices as of now.

One of my first steps was to study animation. To better understand the benefits and drawbacks of both AI and normal animation, I investigated some sources, such as blogs and YouTube classes. My research gave me important knowledge about the technical and creative advantages of each method.

Mostly, this channel will help me with editing.

I would benefit from this one because of the more natural motions and animation methods.

On the other hand, this channel would be useful to me regarding AI animation.

For example, the quickness and efficacy of AI animation apps such as Adobe Character Animator and Cartoon Animator are perks. With the help of such tools, I can create creative and fluid figures with little work. Being able to quickly make changes and modifications is another benefit of AI animation, which is important in improving the visual aspects of my CCR.
Traditional animation, on the other hand, offers a classic and handcrafted look but takes more time. Because of the hard frame-by-frame process, more control over the little details of a character's emotion and motion can be gained. This method works well for developing a unique visual style that may have an important effect on the viewer.

I chose to test both approaches to see which one would work best for my CCR. Using AI techniques, I could produce short animated sequences that I could compare to hand-drawn animations. I could get feedback on these samples overall. The feedback would be helpful. 

Step 1: Getting Ready

The CCR videos from the previous year have been both a source of inspiration and direction for me as I start my own CCR. Particularly noteworthy are two projects: Lantern Shark Productions and Yheketen's Film Adventures.

I was impressed with Yheketen's Film Adventures because of its innovative and creative way of answering the earlier questions.   I've been inspired to think creatively and explore new possibilities in my own work by the creative application of special effects and storytelling methods.   Studying their film has taught me the importance of being unique and allowing my creativity to grow and develop.  

I was impressed by Lantern Shark Productions' professionalism and meticulousness. Their skillfully written script and meticulous editing set the bar for my own CCR. I've learned a lot about the value of structure, preparation, and clear communication in a filmmaking team from studying their work.

My goal is to produce a breathtakingly beautiful and emotionally powerful CCR by taking inspiration from these outstanding members.   I'm determined to use my imagination to the fullest and create a superior end result that captures my progress.

Starting of the Post-Production Stage

The shoot of the opening sequence for "Words Unspoken" is now over, after two long days of filming on Sunday and Monday. We put in around two to three hours of energy daily, and working on set with such a great cast and crew was an incredible experience. Working closely with the director to frame every scene and ensure we were getting the tone and atmosphere we were going for.

The challenging job starts now that the filming is over! I and our editor both received a Google Drive folder with all 63–65 footage from our director. I've been going over every footage in great detail to determine what worked and what didn't. It's amazing to see how various lighting setups, camera angles, and even changes in focus can affect a scene's overall mood. I will be able to find the best takes with the aid of this exhaustive review process and provide our editor with helpful suggestions.  

When it comes to our editor, they have an important task ahead of them. After going through all of the footage, they will choose the best takes and put them together to create an organized narrative.   Since they're also our sound designer, I'm confident they'll perform a fantastic job. Their creativity and great attention to detail will be important in realizing the potential of "Words Unspoken"'s opening sequence. The editor will be putting in a lot of effort during this post-production process to make up for not being able to be on-site during filming.

I can't wait to watch the finished project come to life. We gave the project our all, and I have no doubt that our efforts will be rewarded. As we enter the post-production stage, it's now time to get ready for my CCR.

Creating the Scene Outside

We chose Jaycee Park for a scene in our film because of its unique mix of natural beauty and subtle charm.  The park's large spaces and playgrounds gave the ideal setting for this scene's emotional growth.    The swings especially grabbed our attention because they are a strong visual metaphor for the characters' conflicted fragility, the push and pull of their feelings, and the unspoken words that remain between them.  They suggest to the deeper, more complex emotions at play while also representing a sort of innocent joy. 

Filmmaking usually requires careful consideration of the location, and Jaycee Park felt like a good choice right away.  However, we ran across a little issue, which is usual in production.    We found out on our first location scout that the park was reserved for a private event on the Sunday that we had originally planned to film.  Our director managed to come up with a solution that was not different from our intended scene.  We were able to move our outside shoot to the next Monday after a few phone calls and a few last-minute scheduling changes.  To do this, we had to coordinate with our whole cast and crew, let them know about the change in plans, and make sure they were all ready for the new schedule. 

Although the swings are the main draw in the scene, we also planned on using the other parts of the park.  Besides to the many visual choices offered by the slides, monkey bars, and surrounding green areas, we're thinking about adding some improvisation to the scenario to let the actors engage with the setting naturally and observe what genuine moments develop.    This may give the scenario an air of authenticity and sincere feeling, reflecting the natural growth of dialogue and bonding.

Challenges and Progress

Making movies is a crazy journey. On "Words Unspoken," we're making great advances, but it hasn't been easy.  We certainly have encountered our fair share of challenges, but we have also experienced some amazing moments of teamwork and creativity.  

The actor's performances were greatly impacted by the script's read-through we had with them.  During the filmmaking process, we have been building upon that starting point.    For example, we've come across some challenging lighting conditions at our main location.  We worked with the actors so they could obstruct the lighting in certain scenes. Using the natural light to create the desired atmosphere, rather than merely trying to add artificial light.  It has forced us to be more resourceful and has been a true team effort.

(We made sure that Drey could block the lighting here)

Another ongoing cause for concern has been our camera battery.  We've learned quick charging was something we had to do after filming for a while, so we had to get the most of every minute of shooting time as the battery hardly lasted.    And the park scenario we were planning had to be postponed for the second day of filming. 

We're moving forward in spite of these obstacles.  The deep feelings of Riley writing the letter and those important interactions between Riley and Phoebe are among the scenes we've already filmed. We are really appreciative of our cast and crew's commitment and skill.

Day One of Filming: Actors and Script

We are making enormous progress on "Words Unspoken," and I wanted to talk about our strategy, especially how we have been working with our actors to make the script come to life.

We took the time to carefully review the script with our actors, Addy and Drey, before we even started getting ready to shoot. We spent a good half hour sitting down and going over each line, talking about the purposes of the protagonists, and analyzing the story's emotion ground. It was a fantastic opportunity for everyone to connect with their characters on a deeper level. After reading their lines, the actors shared their feelings about it the script.

So, we recorded the actors reading their lines. At first, they read the lines just as they were in the script.  We then asked them to try different ways to conveying the lines to see what worked best for them.  This method was quite helpful. It allowed us to pick up on minor details in the conversation and find perspectives we hadn't previously thought about.  The actors' ability to personalize the phrases was very amazing.  

This method has been very successful.   Actors can relate to the characters and provide their own unique perspectives to the story, rather than just memorize words.  Together, we're creating this movie, and I can't wait to see how it turns out.

Some of the most important scenes, such as Riley's letter writing scene and the emotional interaction between Riley and Phoebe, have already been filmed. We'll need to finish the outdoor scenes and some finals shots on our second day of filming.

Green light: Production Countdown

At last, it's all done! We have finished our pre-production proposal by completing the Camera Shot List and Location Recce!  We received approval to begin filming our film, "Words Unspoken."  We presented our idea to our head producer, who looked over it all. He pointed out a few little problems, but we were given suggestions on how to fix them or improve for the future. 

Here is a summary of our Camera Shot List following a thorough analysis and revision of all the data:

In summary, there are four scenes total, twenty-five shots total, and the film production run from three until five o'clock.

Everything taken into account, close-ups, over-the-shoulder shots, and cuts will have the biggest influence on the narrative of our film.   Near the close of Scene 2 and throughout the rest of the opening, it is made clear that Riley's mental health is unstable and that any small incident may cause her to breakdown.   Here, Riley's facial expressions are carefully used to convey complex feelings, particularly when she isn't speaking through conversation or narration.   Riley's fall and breakdown is bound to impact the audience's hearts, therefore sequence 4 is certain to be a sequence filled with intense despair.   Riley's gaze appears numb at several moments in this introduction, suggesting that she isn't feeling anything. In Scene 4, she fails to realize that she is sobbing until the tears have already fallen.

We have four scenes instead of three since we decided that the title screen reveal will be its own scene. There are just two outdoor shots, and they will be taken at a park close to our main filming site.

Our film's opening will include a lot of music. The intensity of the situations is shown by the presence of volume and pitch changes. Also, the tensest mood will be created by the silence while the music is not playing since it appears that even the smallest sound might have a good or bad impact on the final result.

The title screen, regular character cuts, and the conclusion of our opening, where the camera fades to black to indicate the finish, will all be examples of how transitions will be used properly. Logically this will be done to leave the film on a high note so that viewers can think about what will happen next.

We have been given permission to move on to the next phase, which is film production, so all we need to do now is get our hands on the camera!

Time to Practice

I've been watching a few videos to get familiarized with my key piece of equipment, the tripod, while we set up our filmmaking setup. A guide on using a tripod in various ways to improve our filmmaking is provided in the video, 7 TRIPOD Tricks I ACTUALLY USE for Filmmaking. The following are some tips that were discussed in the video and how I may use them:

1. The Rubber Band Trick: This technique helps tilt or pan the camera more smoothly and easily by putting a rubber band around the tripod handle. If I have trouble making exact movements, this is really helpful. 
2. The Gravity Tilt Trick: This technique uses gravity to produce consistent, smooth tilting shots by laying the camera on the tripod head and adjusting the tilt friction. With no need for expensive gear like a gimbal, this may be an excellent way to give your shots lively motion.  
3. The Dolly Trick: To create the illusion of a dolly shot, fold one of the tripod's legs and tilt it forward on two legs. If I don't have access to a real dolly, this might be a great way to give our shots more depth and perspective.
4. The Slider Trick: This technique creates a makeshift slider by setting your tripod on a blanket on the ground or a chair with wheels. Without a specialized slider, this may be an excellent way to give our scenes fluid, dramatic movement.
5. The Shoulder Rig Trick: This technique involves placing two tripod legs on my shoulders and adjusting the third leg to form a makeshift shoulder rig. With this method, I may achieve steady handheld shots without the shakiness that comes with conventional handheld shooting.
6. The Steadicam Trick: This technique creates a makeshift Steadicam rig by spreading the legs wide and extending the tripod's central pole.   Without the need for expensive gear, this might be a great way to obtain tracking images that are smooth and look professional.
7. The Monopod Trick: This technique creates a temporary monopod by folding all but one tripod leg. When we don't have time to set up a full tripod, this might be a great way to obtain fast, steady shots.

With everything considered, our film could use plenty of creative and useful tripod-related filming tips. Even if we are shooting in a limited space, we can still add more interesting and captivating movement to our scenes by implementing these tips into our process.

Actors' Clothing Choices

With filming just around the corner for "Words Unspoken," I wanted to share some thoughts on a crucial aspect of visual storytelling: costumes. Firstly, let's talk about Abby (Riley). Clothing isn't just about what looks good on screen; it's about conveying character, mood, and story.

For Abby, the sweaters will play a very vital role in the storytelling for the film. Here's a breakdown of some of the key pieces:

Navy Blue Sweatpants: Though navy blue is often connected with peace and calmness, it can also cause feelings of melancholy or loneliness.  These perspirations might suggest to Riley that she is introverted, at ease in being by herself, but also somewhat alone.  The dark hue may refer to feelings she isn't yet ready to express.

Cream Cardigan: The color cream is soft and warm.   It may stand for comfort and pleasant emotions.    This cardigan could remind Riley of her happy moments spent with Phoebe. The affection of their relationship is reflected in the color's gentle, comforting color.  

Purple Cardigan: Deep emotions and mystery have been linked with the color purple. It often refers to reflection and instinct.    This cardigan suggests that Riley is giving her feelings for Phoebe a lot of thought.  The purple may refer to a secret she's keeping or her growing insight of her romantic impulses.

White and Navy Striped Sweater: The white and navy stripes give this sweater a more lively, energetic look.   White frequently represents hope and fresh starts, while blue gives a sense of depth. Riley may be trying to move on and fulfill a new balance in her life, shown by her sweater. 

Her clothing seems to be a visual reflection of her inner self. As for now our main options for Riley's clothes are the navy-blue sweatpants and cream cardigan.

I believe that these clothing choices will give the movie even more depth and let viewers relate to Riley more deeply.

As we continue our investigation of our film clothes choices let's turn our attention to Phoebe, or Drey. Phoebe's clothes, like Riley's, is carefully chosen to reflect her character, emotional state, and dynamic relationship with Riley. She is expressing her feelings and desires through the tanks and t-shirts.

Here's a closer look at some of the key pieces in Drey's closet:

"Electric Era Records" T-Shirt: This shirt reflects Phoebe's lively and carefree   personality.  It suggests a passion for music and an association to a carefree time in her life. The "Electric Era" might refer to a time in her life when she was full of adventure and curiosity, or it could represent a yearning for that feeling.  

Lemon Capri Italy Tank Top: Sunshine, joy, and a passion for life are all expressed by the vivid lemon color.   The reference to "Italy" could be referring to her spirit of curiosity or her heritage.   This tank top can stand for Phoebe's self-love and her confident, outgoing personality.

Blue and White Crochet Halter Top: The handmade, natural feel of crochet frequently expresses a mood of freedom. White and blue make a timeless and well-balanced combo.  This halter top may represent her need to show herself and be seen, yet in a way that is genuine and comfortable for her. It allows her to show off some aspects of herself without giving away everything.

White and Green Lace Trim Tank Tops: The colors white and green could represent growth and peace.    A hint of femininity is added by the lace trim. Phoebe's desire to fit in and be seen as an open-minded person may be reflected in these tank tops.  They suggest that she is dealing with life's complexities rather than focusing just on one aspect of it.

Basic Beige Tank Top: Beige is a delicate, neutral color.    This tank top could represent a time when you felt normal or even limited.   It could suggest a wish to be accepted for who she is, despite the fact that it may appear "boring" to others, and to escape criticism or expectations.

Denim Shorts: A casual, informal mood is shown by worn denim shorts. They frequently stand for individuality and a practical mind.    These shorts might stand for Drey's relaxed, genuine personality, someone who isn't overly concerned with appearances or fitting in with traditional standards of beauty.

I'm excited to see how these choices play out on screen and how they contribute to the overall narrative. 

I'm excited to see how these choices play out on screen and how they contribute to the overall narrative.

The Storyboard is Complete

I aimed to start working on the storyboard, another important pre-production step, after finishing our camera shot list and eventually fixing our numbering problem based on the feedback we received. The process of creating this visual framework for "Words Unspoken" has been demanding, fulfilling, and sometimes frustrating.

Given the important details and emotional significance of our story, I realized right away that a well-designed storyboard was important.  However, it turned out to be more difficult than I thought, to translate the story into a series of consecutive drawings.   Choosing the camera angles and shot composition for each scene was the most difficult thing for me. I experimented with options for hours, wondering if a certain angle actually conveyed the intended impact on emotions. 

While certain scenes seemed like they couldn't be made into visual concepts, others unfolded easily. 

I really wanted to portray Riley's emotional vulnerability in the first seconds when she writes the letter, so I thought about specific instances.   My attempt with a "tilted shot" when "MC is surprised" is seen in the storyboard. My objective was to visually convey the protagonist shock in the shot.  Also, the storyboard as a whole provided an expanded representation of Riley and Phoebe's relationship.  

Riley was always shown as trying to keep to herself, so I also wanted to make sure I could capture her body language as part of the story.  

In order to represent the flashback, we had decided on, I included the scene in which they were playing on the swings. Although there's an additional flashback I decided to draw on the storyboard in case we wanted something more symbolic, which was included before the initial flashback, where both Riley and Phoebe are on the bed playing. 

This helps create a more smoothly transition from flashback to flashback and also creates a base to go deeper into their relationship and Riley feelings. 

 

As I spent about five hours on the storyboarding process, I wanted to give up at certain points, but it was eventually worth to get over those creative blocks.   Also, I made the decision that the storyboard would mostly highlight angles rather than the plot, but as the movie goes on, the drawings become deeper. 

Now that it's finished, I'm confident the storyboard will be a huge help when we begin shooting on Sunday, the 16th. It will offer a concrete visual guide for arranging every scene and shot, stopping actors from entering the frame, and making sure the story is told in a way that fits our vision. Despite their imperfections, the sketches convey the key components of every shot: the performance, the camera movement, and the framing. Going forward, I feel a lot more prepared and confident. 

Camera Shot List Final Look

For our film "Words Unspoken," we have officially completed our camera shot list. It's been really a long way, especially since we made an ironic (as we did it before with our first film) numbering error.

With believing that it would be easy, we quickly started working on the camera shot list. We started typing details regarding every scene using the script we had created. In Riley's room, which is our main location, we went into details of camera angles, motions, and scenario descriptions. Descriptions like as "Establishing shot of Riley's dimly lit bedroom" and "Medium shot of Riley sitting at her desk, writing a letter" were written on the camera shot list in order to create a small guide in case we needed it later on. It all seemed good until we realized we'd numbered our shots incorrectly. 

Our early start on our camera shot list show that our numbering on the shots wasn't organized and did not properly follow the usual numbering filmmakers use. A film professional brough it to our attention when we were going over our shot list together and were getting comments. He pointed out the mistakes in our process of numbering the shots. Our goal was to number the entire film in the correct order so we could follow this structure later when editing the film, making it easier to our editor.

That feedback changed everything. We changed the numbers of our shots. It was to properly structure the list by scene, assigning a sequential number to each scene's group of shots (1, 2, 3, etc.).

Although it didn't take a long time to change, the result is a significant improvement.

Our shot list is now well-structured, with each shot being properly numbered to its respective scene. For instance, you can observe how every shot now links to the different sections of the film. It switches between "Phoebe's POV" and "CIS" with different camera angles. Is also able to make it more precise in our shooting, this type of organization greatly improves our editor's work when later on editing.

We gained important insight into the importance of careful planning and paying attention to professional feedback. As we also realized small changes can make our work easier in many aspects.

Progression On Camera Shot List

Our film is currently progressing on its shot list. My partner started the list by clearly describing the opening shot, which is an establishing shoot of a quiet room. He took time to note elements like the moody artwork, and the lights that add to the mood of the room.   This first thing scene of the film is the concrete beginning point which establishes the visual tone. It is now my task to build on this framework and finish the shot list for the film's remaining scenes.  

(Although the official title of our film has not yet been decided, "Intimate Entanglement" is one possibility)

My strategy for completing the shot list is to take a thorough and focused approach. I plan to go scene by scene, carefully reading the script in order to break down each scene into its component shots. Pacing, visual dynamics, and the desired emotional effect are important factors to take into account. I'll be questioning myself, for example, if a close-up is required for this specific dialogue exchange. What kind of background noise is there in this section? I also want to make sure that every shot adheres to the project's general look in order to preserve visual coherence throughout the entire film.   By taking into account these factors, I intend to create a shot list that functions as an informative and thorough shooting guide, successfully summarizing the story and improving our film emotional impact.

Building a Storyboard

Our movie's storyboard acts as an important link between the screen and the script, transforming words into a visual story.  For example, "Establishing shot of a dimly lit bedroom..." turns into a drawing that refers to Riley's personality by showing not just the organization of the room but also the melancholy lighting and individual touches like journals and posters.  "Riley pauses...finishing touches to the letter" translates to a medium shot of her focused expression, with the letter and pen serving as visual subjects. Dialogue and audio cues are also important.    Even emotionally charged scenes, such as "Low-angled shot of Riley collapsing," are thoughtfully drawn to highlight vulnerability.

However, it might be difficult to picture one's own feelings.  "Soft focus" flashbacks need experimenting with different methods in order to bring back the sense of nostalgia.  Scenes with a lot of dialogue require complex body language and facial expressions to portray affection and tension that cannot be expressed verbally, particularly between Riley and Phoebe.  It takes creative visual methods to portray the inner turmoil even in physical expressions of emotion, such as Riley fainting onto her bed.

(I could use the first two images as references to sketch the bed scene, which is the one I'm struggling with.)

Film and art reference pictures are important for overcoming these challenges.    Finding inspiration and direction comes from seeing how other artists have portrayed related feelings and ideas.  In order to discover the correct visual language, it is also essential to experiment by drawing out several styles.  The complex details and emotional depth of the screenplay must be captured in a way that we can clearly explain the actors how to play it.

The main goal is to produce a storyboard that explains the narrative while also expressing its emotional nature.    It serves as a visual guide that directs the filming process and guarantees that the finished product will have a deeper impact on viewers.