Advance Animation Scriptwriting: The Animation Ripple Effect
Advance Animation Scriptwriting: The Animation Ripple Effect
A theoretical discussion by melchor df. escarcha
instructor : Akira's Nightmare Animation Scriptwriting Laboratory
The Ripple Effect depends on three factors namely, impact, range and control. Mass and velocity measure impact. Range is the distance between the source of impact and the point of impact. And control is the integrity of the trajectory. When a person throws a stone in the middle of a pond, impact depends on the velocity and mass of the stone. Range is the distance of the person from the pond and control relies upon the close proximity of the person's plotted trajectory and the actual trajectory. Thus, when the said elements are structured to perform in a defined set of parameters, a desired and predictable ripple effect occurs.
In Animation, the same principles hold true. The idea is the impact of the material. The type of the idea represents velocity and the source of the idea represents mass. The story concept is the range and the premise is the control. When idea, story concept and premise are structured to perform in a defined set of parameters, a desired and predictable animation ripple effect occurs with in the Beat Development Process (The Pond).
The mass of the material depends on the integrity and relevance of the source of the idea. Integrity refers to the realness of the source. It should be familiar to the creator so that he or she can communicate it to the audience. On the other hand, the velocity of the material relies on the type of the idea. A creator must make sure that the idea, in terms of type, coincides with the source. There should be a solid connection between the source and the type. It is the type that translates the abstract source of an idea. For example, if the source of the idea is internal and it pertains to childhood, then it should have an equivalent type. Using a "What if" as a type. What if a boy finds a pair of angel wings in the middle of a playground? In this example, one can draw several connections between the type and the source. Thus, one component in order to have the desired animation ripple effect requires a correct combination of source and type.
If we observe the ripple effect in the pond, energy that is discharged in the center of impact creates escalating circular patterns. The diameter of the said circular patterns increases as it moves away from the center of impact. These circular patterns, in animation scriptwriting, represent an escalating o diminishing behaviors in the number of beats per act.
Freezing the ripple effect, one can assign plot points. These plot points may exhibit an extreme vertical, extreme horizontal or diagonal lines. Unlike the Sinewave, it can occupy only one direction in one space. Beats may only escalate or diminish. These behaviors are generally observed in materials, which uses Ascension and Descension as plot structures.
Assigning the number of beats per act is a construction that tries to achieve this effect. Predictability in plot points using as basis the audience speculative behavior may lead to an effective deployment of a material. Thus, going back to the ripples, we can assign levels of emotions as well as type of emotions in respective plot points.
In a 3-act formula, there are 9 key plot points. The Middle points are referred to as conflict points. And the beginning and ending points are called end points. If we construct, as guided by the ripple effect, we can escalate the level of emotions in a material. We may proceed from hate to love or from love to hate. If the first mid-point represents love and the third mid-point is hate. Then we can assign the second midpoint as apathy.
By assigning the escalating emotions in the said conflict points, we are able to plot the direction of the material. This is the essence of control. But there are times when the plotted trajectory does not run parallel to the actual trajectory. If this situation arises, a creative choice is made. You ask the question, which of the trajectories best serve the vision of the material?
If speed and distance are measures of velocity, then range will definitely affect impact as well as control. The story concept is vital in determining the range of a material. Artistic, market and industry considerations affect the range of a material. In this regard, we go back to the vision of the material.
The vision is abstract, thus, it is difficult to explain when parameters are not set. The story concept is a tool in initially forcing this abstract value to assume a more concrete form. In theory, the story concept is the mission of the material. It answers the question, how do we go about in communicating this abstract vision?
Setting up the parameters of the story is like setting up the range of the thrower of the stone. It is more or less trying to determine what is the best distance in order to achieve the desired ripple effect. Thus, when the parameters are set, the range is determined. Of course, determining the parameters will require endless and violent debates among different quarters of the creative team. As I have stated before, artistic, market and industry considerations play vital roles in this exercise. Budget constraints may affect technological requirements or artistic needs may affect financial considerations. Nevertheless, it is more efficient for such arguments to occur within the story concept stage.
It is true that one can not compromise vision. But one can negotiate the material's over-all mission. Take note that vision is abstract, therefore, it is subject to many interpretations. It is when we translate a single interpretation into workable steps that we begin to operationalise it into the material's mission. So why do some people say that their vision does not work in a given situation?
Vision diagnostic is relevant when we begin to develop and manage a material. There are three main causes of the problem mentioned above. First, the vision is actually the mission of the material. Second, the creator knows the mission but does not know the vision or vise versa. And third, the creator is an immature perfectionist. He keeps on revising his vision but does not know what he wants.
Idea, Story Concept and Premise are important dynamics in achieving the desired Animation Ripple Effect. It is a concrete tool in projecting and shaping parallel movements between the material's behavior and the audience's behavior. This is not a walk in the park or a piece of cake. The said effect, like the Animation Sinewave, requires a lot of research, development and management on the part of the creative team. But when everything falls in its proper place, one is able to create Animation Magic. So, is there another wave or effect? Yes, but this time is neither a wave nor an effect.
A theoretical discussion by melchor df. escarcha
instructor : Akira's Nightmare Animation Scriptwriting Laboratory
The Ripple Effect depends on three factors namely, impact, range and control. Mass and velocity measure impact. Range is the distance between the source of impact and the point of impact. And control is the integrity of the trajectory. When a person throws a stone in the middle of a pond, impact depends on the velocity and mass of the stone. Range is the distance of the person from the pond and control relies upon the close proximity of the person's plotted trajectory and the actual trajectory. Thus, when the said elements are structured to perform in a defined set of parameters, a desired and predictable ripple effect occurs.
In Animation, the same principles hold true. The idea is the impact of the material. The type of the idea represents velocity and the source of the idea represents mass. The story concept is the range and the premise is the control. When idea, story concept and premise are structured to perform in a defined set of parameters, a desired and predictable animation ripple effect occurs with in the Beat Development Process (The Pond).
The mass of the material depends on the integrity and relevance of the source of the idea. Integrity refers to the realness of the source. It should be familiar to the creator so that he or she can communicate it to the audience. On the other hand, the velocity of the material relies on the type of the idea. A creator must make sure that the idea, in terms of type, coincides with the source. There should be a solid connection between the source and the type. It is the type that translates the abstract source of an idea. For example, if the source of the idea is internal and it pertains to childhood, then it should have an equivalent type. Using a "What if" as a type. What if a boy finds a pair of angel wings in the middle of a playground? In this example, one can draw several connections between the type and the source. Thus, one component in order to have the desired animation ripple effect requires a correct combination of source and type.
If we observe the ripple effect in the pond, energy that is discharged in the center of impact creates escalating circular patterns. The diameter of the said circular patterns increases as it moves away from the center of impact. These circular patterns, in animation scriptwriting, represent an escalating o diminishing behaviors in the number of beats per act.
Freezing the ripple effect, one can assign plot points. These plot points may exhibit an extreme vertical, extreme horizontal or diagonal lines. Unlike the Sinewave, it can occupy only one direction in one space. Beats may only escalate or diminish. These behaviors are generally observed in materials, which uses Ascension and Descension as plot structures.
Assigning the number of beats per act is a construction that tries to achieve this effect. Predictability in plot points using as basis the audience speculative behavior may lead to an effective deployment of a material. Thus, going back to the ripples, we can assign levels of emotions as well as type of emotions in respective plot points.
In a 3-act formula, there are 9 key plot points. The Middle points are referred to as conflict points. And the beginning and ending points are called end points. If we construct, as guided by the ripple effect, we can escalate the level of emotions in a material. We may proceed from hate to love or from love to hate. If the first mid-point represents love and the third mid-point is hate. Then we can assign the second midpoint as apathy.
By assigning the escalating emotions in the said conflict points, we are able to plot the direction of the material. This is the essence of control. But there are times when the plotted trajectory does not run parallel to the actual trajectory. If this situation arises, a creative choice is made. You ask the question, which of the trajectories best serve the vision of the material?
If speed and distance are measures of velocity, then range will definitely affect impact as well as control. The story concept is vital in determining the range of a material. Artistic, market and industry considerations affect the range of a material. In this regard, we go back to the vision of the material.
The vision is abstract, thus, it is difficult to explain when parameters are not set. The story concept is a tool in initially forcing this abstract value to assume a more concrete form. In theory, the story concept is the mission of the material. It answers the question, how do we go about in communicating this abstract vision?
Setting up the parameters of the story is like setting up the range of the thrower of the stone. It is more or less trying to determine what is the best distance in order to achieve the desired ripple effect. Thus, when the parameters are set, the range is determined. Of course, determining the parameters will require endless and violent debates among different quarters of the creative team. As I have stated before, artistic, market and industry considerations play vital roles in this exercise. Budget constraints may affect technological requirements or artistic needs may affect financial considerations. Nevertheless, it is more efficient for such arguments to occur within the story concept stage.
It is true that one can not compromise vision. But one can negotiate the material's over-all mission. Take note that vision is abstract, therefore, it is subject to many interpretations. It is when we translate a single interpretation into workable steps that we begin to operationalise it into the material's mission. So why do some people say that their vision does not work in a given situation?
Vision diagnostic is relevant when we begin to develop and manage a material. There are three main causes of the problem mentioned above. First, the vision is actually the mission of the material. Second, the creator knows the mission but does not know the vision or vise versa. And third, the creator is an immature perfectionist. He keeps on revising his vision but does not know what he wants.
Idea, Story Concept and Premise are important dynamics in achieving the desired Animation Ripple Effect. It is a concrete tool in projecting and shaping parallel movements between the material's behavior and the audience's behavior. This is not a walk in the park or a piece of cake. The said effect, like the Animation Sinewave, requires a lot of research, development and management on the part of the creative team. But when everything falls in its proper place, one is able to create Animation Magic. So, is there another wave or effect? Yes, but this time is neither a wave nor an effect.
posted by akira's nightmare at
12:34 AM
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