The layout man has the responsibility for the appearance of the picture, scene by scene, and as a total film. If a special style has been set for the production, he adapts this work to the bread-and-butter needs of the scenes. He works with the director on the staging and dramatization, building on the ideas of the story sketch man. He designs the backgrounds, suggests the pattern of action for the animator, indicates camera positions for the most effective shot and the cutting that will tell the story in the most entertaining way.

In live action films, this important cutting, or editing, as they prefer to call it, is done after the film has been shot. The arrangement of the pieces can give the picture special meaning, excitement, suspense, purpose, or just as easily make it a dull conglomeration of tedious, endless scenes. The same potential exists in the animated film, but we must operate in reverse! We have to make our decisions when the film exists only in our dreams. It is far easier when there are tangible strips of film that can be spliced together and tested and judged.

In theory, the layout man plans his sequence carefully in rough sketches, working back and forth to find the best way to solve all of the problems inherent in any film. Surprisingly, one of his biggest headaches is in keeping the directions clear and consistent as the characters move across the screen or exchange looks during dialogue. As long as the scenes were presented as seen by an audience watching a stage performance, there had been little problem. But once the camera moved among the actors and through the sets, it became more difficult to keep the audience oriented. Since the scenes were planned to stage the business rather than clarify the precise location of the characters, there

Thomas Romain

from the Layout Book :h was standard at that \for Snow White. The n sketch is at the top. ocale and mechanics \e bottom. Scene I: v White comes down s. runs across room to ? in fireplace at left.

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ie 3 from Layout Book: Irfs come down stairs, to right. Snow White gone to the left! The ition of the camera has n shifted for this scene, the audience still sees w White go one way 1 the dwarfs go the other hich is why the layout i say that keeping directs clear is their most sortant job.

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Robin Hood Castle Drawing

Rough layout drawing of Prince Johns castle in Robin Hood, showing the geography, the character relationships. the design and the style of the picture. All of the other scenes in this sequence will he based on this master drawing by Don Griffith.

The type of pictorial shot below it is more fun to do. There are no characters to worry about, just a good drawing with a strong mood to fit the situation.

Drawing Disney Girl Body Character Poses

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