Jama Jurabaev 27-31
3. Storytelling and Composition II---1-4.Light
P27 - 00:00
We have the last probably most important compositional element, like, light is a big guy.
P27 - 00:10光是最后一个设计元素。
You can have a little bit of like sloppy knowledge of camera lenses and camera position.
P27 - 00:16多少有些镜头和摄像方位的知识。
But if you don't understand how to play with the light, you losing a lot, because light basically is everything. Whenever you have a black composition with no light, there is no story.
P27 - 00:30单纯黑白没有光就没有故事。
But once you put a light in it. You'll start seeing stories.
P27 - 00:41白色光放在里面，有故事了。
So if you know how to play with light, know how to use those trick. You can dramatically improve your storytelling.
P27 - 01:01懂得用光，改善讲故事。
So let's jump straight into my 3D template that I made for you.
P27 - 01:08看3D蓝图。
And it's very simple. Actually. There is no physical light that's in this scene. Everything is just a texture. That's why it looks very graphic.
P27 - 01:13二维纹理看起来平面设计。
So having these lights set up, it's kind of everything screams. This girl is a main character because she's got a lot of contrast, she is black silhouette against white.
P27 - 01:27黑色轮廓光对照白色背景。
She is also have a single colour kind of the biggest spot in the frame.
P27 - 01:33画框中的焦点。
That's why everything in this frame makes her as a main character.
P27 - 01:39场景烘托这主角。
But let's see if we can change this setup just by changing our light.
P27 - 01:48改变灯光，改变场景设计。
And once again, it's not physical. It's basically this color map painted on projected on this geometry. So that's why I like this matter that just so intensity you don't need to wait for anything.
P27 - 01:59keynote投射颜色图。
And let's just start scrolling this map like changing different things.
P27 - 02:06滚动鼠标可以改变光。
And as I slide across, you can see how many things they start changing. Like for example, she was a unique person with only red color.
P27 - 02:16变化：从红色的独特角色。
But now like for example, this is a completely different story. It is the same setting the same amount of people. But just because I changed the light now it became this frame. And the story is not about her, but about this everything in this frame.
P27 - 02:36场景中其它人亮红色，故事变了。
these could be people like from the same client or these could be people are just about to departure somewhere.
P27 - 02:47车展启程人或同样客户群。
And everybody looks the same they have a uniform.
P27 - 02:52看起来类似像是制服。
Well, let's just keeps lighting this texture and see what we can get.
P27 - 02:56改变材质看看有什么变化。
As I move, everything changes, the composition changes,
P27 - 03:09合成内容变化了，
like it's not more about this girl because she doesn't have the strongest contrast.
P27 - 03:14女孩不是焦点不是黑白对比分明。
Even though she is bigger than the frame. Now it's probably about this guy because he has a lot of contrast.
P27 - 03:20聚焦对比分明，而不是最大的。
Or these two guys, That's just keep sliding and see what we can end up with. May be shifting the texture as well.
P27 - 03:37或者改变材质。
So now you see it's a completely different lighting setup.
P27 - 03:40不同的灯光设置。
Even though it's not a real light, it just changes everything. it's more like you can travel along the frame. You can look here and then go deeper. They look at this guy, look at these people. So within one picture, you start seeing more and more stories just by manipulating that line.
P27 - 04:01改变线条可以看到更多变化。
That's why When you all on SAT, there is a huge group of people who are responsible for lighting on the stage,
P27 - 04:09一大堆人负责舞台灯光。
just because they want to do their best to tell the story that the director has in mind and let's just keep playing and see what we can end up having.
P27 - 04:22等效符合导演要的效果。
Look at this now. Now it's more about these two guys, because or more even about this guy, because he is on composition wise. He's just perfectly placed. So this girl is dominant as well. But she's not the main hero anymore. She is fading. She's just blending into the rest of this crowd.
P27 - 04:51没有光影对比的，全息融入背景。
So now it's all about this guy. And all I did is just the changing the light. That's why light is very, strong compositional instrument and tool.
P27 - 05:06灯光是合成的工具。
I did like a small screen grab of the stuff before. So let me just jump straight into it. Like for example, it was the same setting, but the way change the story. So before these girl was the main girl. But now we can see this three guys behind her.
P27 - 05:30看到女孩，背后三个跟踪者。
They are also, for example, if you just rules some things unifying them. Now you understand that this is a story about this squad was the main girl.
P27 - 05:43女孩是小分队队长。
The leather of the squad, as these may be this this guy's last one of these guys next. And so far, so just by using different lighting and the same framing with the same camera angle and lens we got a completely different story.
P27 - 06:02光 镜头视角有不同的故事。
And imagine how many crazy in different versions you can get. So imagine how many different stories I can get by just using different lighting and telling those stories within one frame is so exciting. Like now I can see this like the story shifts towards these guys. Maybe these guys are doing something together over here.
P27 - 06:48这些人都在一起。
And it's all about light. And it doesn't necessarily need to be physical light.
P27 - 06:55不一定是物理灯光。
That's why as a concept artist, we've got the full power. We've got more power than even these guys on SAT. That's why they always keep asking us to change things because you could know we can prepare everything perfectly.
P27 - 07:10提前实验好，就可以精准布景。
because we are in the virtual world and we can use anything.
P27 - 07:15视觉特效可以用一切工具。
You just use all mine and create different infinite amount of stories, just by using light.
P27 - 07:24改变灯光创建不同的故事。
Let me jump into to the next example, which will be So basically, what I did. I've got this same scene, but just different angle.
P27 - 07:46下面是视角的案例。
So we've got this setting. It's this girl walking and I'm using all those elements from a previous chapters about Camera lens,
P27 - 08:15上一个章节是摄像角度。
which I'm using a wide lens because I want to see less background mould up the field because it's more about how walking and I'm also using clicker low angle camera position. Just to emphasize that she is a dominant person in this frame.
P27 - 08:30低角度拍摄烘托主角。
And if I was doing like, for example, my abstract exercise which you did a lot. And in lesson two, the way it would look like. Like if I zoom out. It would look like very simple. Probably be something like this,
P27 - 08:53缩略图看起来很简约。
So this easy abstract shape could be turned into a very complicated and highly sophisticated and beautiful frame.
P27 - 09:14抽象图可以变成漂亮的剧照。
If you know how to go from here to here. the reason why I was forcing you to do those abstract exercise is because abstract exercises, they are timeless.
P27 - 09:36抽象画训练的意义。
You can fit any kind of story within these abstract change.
P27 - 09:45无时限抽象加入时间不同故事。
And I will show you how. Look, I took exactly three different like the same composition. And just by putting those extra details, I was able to tell different stories in a different time frame, time period.
P27 - 10:14加入不同细节和灯光讲述故事。
Like this is a medieval kind of scenario. And there's a spears and we have a nice crown and stuff like that.
P27 - 10:23比如中世纪的皇冠和长矛。
This is more like hunger games, We've got military, we've got like cantonese and they are walking towards somewhere.
P27 - 10:34像是猎人游戏一样剧照。
And this is more like a side story. This could be a mass effect, And it all started from that abstract shape. And from here, I wanna go back to something that I can't saying from the very first lesson. Remember I told you guys that. This was you. It's a long way between you towards your stories, And I told you this way looks like this. You've got principles which we are covering in every lecture. And we've got tools and techniques and practice. And then we actually have a fun part which is creative part.
P27 - 11:49原则 技术 创作。
So what I don't agree with that. I will keep always minimizing is this part. I think it's too long because it's a lifetime challenge.
P27 - 12:02技术一生的挑战。缩短时间成本。
so my graph that I want to offer to you guys is looks, it has the same object on the same goal. What I really want to do is to minimize this gap, for tools technique and practice, make the gap of principles bigger. Because I think having strong principles will make you much more successful artist and the most important to make fun part, which is creative part, much larger chunk of what you're doing.
P27 - 12:53增大原则，缩小技术，增大创造。
Because once you start to concentrate on creative part, your stories will be much better.
P27 - 13:06创造性讲故事技术提升。
And how we will do this. And you can already see me doing it, like doing this abstract exercise this thing, you don't need to know perspective light shadow or anything. It's just very simple.
P27 - 13:19抽象画不需要光影灯光。
And then we will use different tools. Like for example, like I used 3D, I use freely to block out everything because all I wanted to concentrate on was the story or the creative part the fun part of it.
P27 - 13:32专注在创作的部分。
I wanna I enjoy designing things. it's all about design and storytelling. It's not about setting cameras. It's not about thinking about perspective, depth of field. I just wanna enjoy the fun part of it.
P27 - 13:49不是持考虑摄像 角度 景深。
Like for example, I will show you methods that will allow you to frame your picture. But still think purely about design and have the frame changing as you design things.
P27 - 14:00剧情同框改变设计的事情。
Because our main goal is to be creative. Like there are so many people who know tools who are very technical, who have like a crazy good skills in painting and drawing or modeling or anything but I think the most fun part is being creative.
P27 - 14:21太多人擅长建模 插画等。
Because once again, it's about this bad guy. This bad guy in our head. Once that guy works. Basically, you have more value as an artist. And you have more freedom actually to do different ideas to play with multiple universities and just do tell your stories instead of trying to actually learn how to build them for 15 years and then have two years or three years to actually make things happen.
P27 - 14:55节约独立制片等时间成本。
So that's all about cinematic principles. And in the next lesson, I would jump straight into these shortcuts that will allow you to be designing and thinking purely about story,
P27 - 15:08直接设计故事。
but still having everything framed properly and still having the freedom of changing angles and lighting as you go. As you design. So see you in the next one.
3. Storytelling and Composition II---2-1.Master Studies
P28 - 00:00
Let’s move on and we’ll be doing some master studies this week. Before we move on, I wanted to share with you one of the principles that I keep following.
P28 - 00:11分享一个经常用的原则。
What am I doing? Like master studies, like we all know that learning from masters, it is very important,
P28 - 00:23学到技术精湛，非常重要。
Like we do it since we were born when we were small as a kid, we were learning from our parents. They were all masters. Like we would ask questions and first we would just copy them. When we was a very small or just copy them, do whatever they do.
P28 - 00:41小时候模仿父母。
But once we become more intelligent, instead of coping, we are learning all those tools and starting using them as we want. And we become a unique person, and no longer a copy of our parents. We are really nice fusion of our mom. And that's right. So our goal, everyone's goal as an artist to become a unique person.
P28 - 01:13从模仿到做自己。
So when it comes to masters. We do have a tendency to jump and copy everything. I know it myself, and I'm pretty sure most of you guys will recognize it. Like, let's see if there is a good guy around there, like being able to doing what we’re doing. Everybody loves Jamie Jones as a painter.
P28 - 01:38比如大家都崇拜插画界的偶像。
This is brilliant guy, Jamie Jones as a hero and because he's so good. Everybody starts copying him. Like, which is great. He is a proper master of what he's doing. But what all we see, it's just like infinite amount of Jamie Jones copies.
P28 - 01:56复制高仿品。
What I am saying. It's good to copy Jamie Jones. I did it myself. But instead of trying to copy him, go and find the person he was inspired by and tried to learn from him. Maybe he was obviously inspired by Craig mullins.
P28 - 02:16偶像的老师也给予启发。
Try to learn from this guy or maybe go even deeper. Craig Mullins was obviously inspired by John Sergeant. And instead of to trying to copy someone who is like living today with you and growing as an artist as well. Try to go and find the root source like go backwards.
P28 - 02:44追溯到源头活水。
I'm pretty sure there was someone else who John Sergent who learn from. I'm not sure about timeline, but pretty sure he look up someone in the past.
P28 - 02:55追溯到大师受到启发的线路。
So if you can find this root material, because what these guys are a unique person. It is the fact that they cope its master. But they they adored that they found.
P28 - 03:11从模仿到推陈出新。
So when it comes to master studies, I always prefer to go deeper to find the root source, the main source of inspiration. And the deeper we dig, the more chance you have to find something very unique.
P28 - 03:28追本溯源，才能发现大道至简。
So that's why this week we are not making studies of star wars. So like I love star wars like everybody loves star wars.
P28 - 03:36所以我们没有从《星战》开始聊。
Not doing master studies of terminator are all like aliens. My favorite movies or not any of the recent movies. We going backwards. We're going back when people didn't have all the technology that allowed them to do crazy things. We're going back on, we're gonna study Free movies basically,
P28 - 03:54我们学习没这技术时候影视思路。
I will give you an assignment. The first one will be citizen Kane. Second one will be seven samurai. the last one will be Ivan’s childhood.
P28 - 04:15凯恩公民 七武士 童年。
Because I think those movie completely utilize the idea of the time frame that I have for myself in order to build the stories. Because they didn't have much tools and technique.
P28 - 04:33那时候的影视没有太多工具。
All they have is a very good principal base designs. pace of principles. And they have less technical part because they didn't have those crazy cameras on cranes and all that stuff. That's why they were very creative.
P28 - 04:59有原则 创作，相机起重机很少。
And this is what we are aiming for. We’re aiming to be more creative. So yeah, let's start and do some master studies with you.
P28 - 05:11开始学习大师杰作吧。
And the way I want you to do master studies, I don't want you to paint anything.
P28 - 05:16不用绘制剧照。
this week is all about just thinking about those short design principles that I share with you.
P28 - 05:22短小的设计原则。
And analyze those frames. Pick up any one of those Free movies, citizen Kane, seven samurai, and Ivan’s childhood.
P28 - 05:30从三个影视中取经。
And tries to analyze and actually support those principles with other stuff that you see. For example, let's start with this frame, like what I can see clearly. Remember I was telling you about that field. For example, if this was a modern concept art, you probably would like all of these guys in the foreground,
P28 - 05:54前景观众。
then we'll be out of focus. Because we know we need some foreground elements,
P28 - 05:59前景需要虚焦。
They love that stuff go and just blur everything like this. So if this was a modern concept, that would be probably like this. In order to be very natural, if this one is a wide camera lens, because we're seeing a lot of background.
P28 - 06:26广景少景深。
So it's why and we know less deal F. So basically, the way I want you to do these studies, pick up those frames and break them apart like these, analyze what kind of camera lens we are using how high our camera is pretty low because we want to show the power of this event over here.
P28 - 06:40视角放的很低，为了展示权利。
There is something going on that we placed our camera pretty low. So if you analyze those low camera and light. What are we using as a line silhouette? Because all we want to see is this action over here. that would be enough for me if you spent like 10 minutes per frame taking those notes, drawing like emphasizing that seeing that the field trying to break those down.
P28 - 07:10广角 低焦距 低视角 轮廓。
Let's seeing another frame. Like for example, this one you can clearly see, we have really low camera over here.
P28 - 07:17这剧照是低视角。
Low camera because we want to emphasize the greatness and the power of this character. How about camera lens? We don't see a lot of background, which means it's probably long lens, Which is also supported by the amount of depth of field,
P28 - 07:45少背景 长焦距 长景深。
you see it over here. and lighting as well. Like there is a small light source coming from here just to emphasize to break him from the background that we're seeing here.
P28 - 07:59背部有被打光。
Any one of those frames will tell you the specific reasons why those guys used those cameras use those angles, use the positional lighting. Because once again, they didn't have all the technology. They didn't have this technological gap, which we trust on today. They only trusted the creative part and they only trust it, the fundamental knowledge and understanding. And these movies movies are brilliant. For example, take a look at citizen Kane. It's probably one of the most like graphic looking movies.
P28 - 08:42过去在原则基础上的剧照。
Because the way it utilizes all the design principles. This is the second thing that I want you to analyze as well. use your knowledge from previous two lessons as well.
P28 - 08:57融合前两节课的原则。
the way they used graphic design, for example, if you open the scene, this one over here, you see the way they use the zigzag composition that I was talking about. You can see it clearly over here. We've got zigzags that allow us look at the frame, And to have this really nice composition.
P28 - 09:29之字形的合成场景。
And if you can see that the perspective of the floor is like this. So we naturally having this zigzag form over here to help the composition. And just to improve the storytelling.
P28 - 09:42之字合成场景有助于讲故事。
And every one of these frames, for example, like this one as well, like. That's just align this front properly. So what are we having here? First, we're having a lot of depth of field, which means it's a long lens. It's not the wide lens.
P28 - 10:08有景深，不是广角镜头。
And we see last deformations as well, nothing is deformed. Long lands, Mould up the field. See, this is the exact motion as well. So we're seeing all this frame, our eyes is travelling inside the frame.
P28 - 10:47眼睛之字形游走在画框内。
Contrast the way that you use contrast. For example, you have this guy. And you have light background against dark foregrounded,
P28 - 11:02黑色轮廓白色背景。
especially you can see it on this frame. Sorry for skipping it. But they're over here. You see the way the break of using just contrast and repetition, the break of this character. You can easily see him because this part is pretty bright. And the character himself was pretty dark.
P28 - 11:23背景白色，角色黑色。对比鲜明。
And these frames are amazing. Every frame in citizen Kane is just so beautiful at dawn. And it's all done by using Free basic core principle knowledge of composition and cinematic and principles and using a lot of creative solutions rather than relying on techniques, tools and whatever.
P28 - 11:47过去创建影视没过度炫技。
And that's pretty much concludes our lesson number three. Now we have all the tools and all the knowledge cause start actually to storyteller stories and that's what we will be doing starting from a lesson number four. It’s pretty good one it’s an amazing experience for me. So see you next lesson number four. Thank you very much.
3. Storytelling and Composition II---2-2.Homework1
P29 - 00:00
Hello, guys. So this is the final chapter of lesson three. And it's basically your homework as well.
P29 - 00:06三章最后一课家庭作业。
So, this week I want you to do master studies and the way we will do it, our first step would be do an abstract study over your favorite frame from movies.
P29 - 00:22从影视中学习抽象画。
We will pick up Free movies. As I said, citizen Kane. Seven samurai. And you can pick up the one that you like, and the one that you like, it doesn't matter. And Ivan’s childhood.
P29 - 00:48公民凯恩 七武士 伊凡的童年。
Pick up those on the frames and make studies of the first step would be to do an abstract study on your frame and make sure when you do those studies, there is a very important thing to keep in mind. Don't copy the content like, don't look at this frame and say, oh, there was a guy standing here, the guy standing here, the guy standing here. No, squint your eyes and just copy the shapes. You see, like if I see those shapes. Instead of seeing the content.
P29 - 01:33关注外形，而不是关注内容。
And once you see the shape, you'll end up with something like this. It's very abstract. You don't really know what it is.
P29 - 01:41非常抽象被人看不懂。
But that's the goal of this master case analysis. don't copy the content. And that's actually the main reason of the for doing those exercises. When we paint an abstract way, we are not thinking in terms of the content.
P29 - 02:01不考虑内容。
This could be a person, But then we we can develop this one. And it could be actually a statue, A big statue and a small person over here. So it's all about these abstract shapes that we want to learn,
P29 - 02:17都是学到的抽象的人物。
seeing and looking at master studies is the best way to do it. So first pick up those in the frame. So let's say 12 frames. And it will end up being like two frames per day or something like that. Make an abstract analysis of that.
P29 - 02:37比如每天训练两帧。
And then analyze in terms of short design. So check your camera lenses. Check your camera location and see analyze the light as well.
P29 - 02:58镜头 摄像 灯光。
And the 3rd step would be is to see the graphic design and see how we use the contrast. And how they use repetition to tell their stories.
P29 - 03:20第三步通过对照 重复来观察。
So that's basically summarize would be covered in lesson one two and three. because from lesson four, we'll start actually telling our own stories.
P29 - 03:30从课程四开始讲述故事。
That's why it's really important to understand all these principles before we dive in and start visualizing our own story.
P29 - 03:37视觉化自己的故事。
So 12 is a good number, but if you have more time, 12 span make like to make 24 of those because I really don't want you to be very fast. What I really want to make is a very forceful, deep analysis of each one of those frames.
P29 - 03:59每一帧都有自己的构思。
So you can spend your time, at least on 12 of those love. I would really appreciate it. If you do more, will be even more that for you. All right, guys. that's our summarize lesson number three. And I wish you good luck. And really looking forward to seeing stuff from you. Thank you very much.
3. Storytelling and Composition II---2-3.Homework2
P30 - 00:00
So our homework number two for these lessons would be actually a really fun thing to do. We will take one of the abstract compositions that you guys created for lesson number two.
P30 - 00:14给课程二创建的抽象合成。
And we will develop different stories. Because, as I said, these are abstract compositions. They are timeless.
P30 - 00:22抽象画 无时限。
They don't have any subject as well. All they care about in this abstract composition was the graphic design.
P30 - 00:30非主观的图形设计。
And once we have a good graphic designer, then it's time to take it to the next level.
P30 - 00:38带到下一阶段。
As you can see here just introducing those minor things. I was able to create different stories in different times with different subjects.
P30 - 00:46不同时间段不同配饰讲不同故事。
So what I want you to do as well as take those frames and start basically introducing different themes.
P30 - 00:56不同的画框讲述不同故事。
It should be a fairly simple thing to do. All you need to do is just to change a few things here and there.
P30 - 01:08只需要做出小的改变。
for example, if this was a wild west or. You would just introduce a little bit of different guns. And you will have cowboy story.
P30 - 01:33比如更换武器，牛仔男孩的故事。
She could be sharing. the same with these ones, just by introducing. could be a story about a native Americans. So very, very small changes. But they impact your story dramatically.
P30 - 02:47小改变，故事就变了。
That's why abstraction is very powerful, because it lets you see different things in the same forms.
P30 - 02:54看似同样的形状，不同的故事。
So your homework number two would be. Again, on a daily basis, pick one of your abstract compositions and do at least three different stories like I did here on 3 on in and it literally takes 5 to 10 minutes to do one frame. So you would say he would spend half an hour extra everyday, but you will create a lot of different stories by the end of the week.
P30 - 03:30三组故事，每组5-10分创建。
I hope these guys was helpful. And if you have any questions, feel Free to ask you on Facebook or on our slack chats. And thank you very much.
4. Painting Methods---1-1.Lesson Overview
P31 - 00:00
Hello everybody, welcome to lesson number four. So this lesson we will be talking about painting methods.
P31 - 00:08第4课讲述绘制方法。
As you know, there are different approaches and different people use different tools and different brushes and different kind of methods of using Photoshop and digital painting overalls.
P31 - 00:21绘制工具 刷子 等不同方案。
So I will try to break those down. And to give you examples for each kind of painting method. And what I'm aiming to have at the end of the this particular lesson that you will have very precise picture full whatever method fits you.
P31 - 00:40找到适合你的方案。
you will see all the stuff I'm doing. And I will support all of those with my thoughts and ideas behind every method. And you will kind of figure out which one fits you.
P31 - 00:50观千器而后识剑。
So overall, there is this kind of basic principle between painting approaches.
P31 - 01:00绘制方案的基本原则。
The first group will be abstract, which is suggestive way of painting.
P31 - 01:07首先建议的抽象绘制。
And the second one will be precise, which is more like a statement.
P31 - 01:11第二步精准的叙述状态。
and so far what we really deeply kind of explored a lot of this guy, We did a lot of abstract exercises and suggested things when we would paint something and we would see something.
P31 - 01:24抽象绘制的建议是看到什么。
And now I think it's time to support it with a little bit of precise kind of painting methods, which will be more about design heavy stuff.
P31 - 01:33第二步骤设计绘制方案。
And and which one is better? Like this one and this one. It's not a matter of question even, because both of these guys, they complement each other. We will constantly keep jumping between this one and this one.
P31 - 01:48两个互补的。
Like let’s do something very abstract to set our mind Free to kind of keep our creative process going.
P31 - 01:56正循环保证创作力的流淌。
And then we will support it with some precise statement kind of strokes to reinforce everything to make our design a much stronger than our ideas and stories much stronger.
P31 - 02:09让设计 思维 故事更强大。
So yeah, there's a lot to cover. I'm very excited about it. And let's get started.
