A Study of Creating 《Cherish Wildlife》 Animation Storyboardby the Method Of Disney Animated Film Storyboarding

• Main Authors: Chen, Yi-Hung, 陳奕宏
• Other Authors: Lin, Chun-Liang
• Format: Others
• Language: zh-TW
• Published: 2016
• Online Access: http://ndltd.ncl.edu.tw/handle/89629059435746512124

碩士 === 國立臺灣師範大學 === 設計學系 === 104 === Abstract It is a great pleasure for me to have worked at the animation industry for over 20 years which has passed through the golden age of the animation business in Taiwan. I have witnessed and involved with producing a great deal of orders from worldwide, including Japan, USA, Canada and Europe, especially a lot of projects from Disney during this period. After working as a layout artist for TV series from 1990 to 2006, I have learned the importance of a professional animation storyboard, it can describe the script and tell the story nice and clearly, also it can have a better control on the animation quality as well as production progress. After participating on making the storyboard for a Taiwanese 3D TV series, I realized that have the design capability and efficient work on making storyboards is the key successful factor enable Disney to produce a huge amount shows for TV and movies. It has inspired me to research the Disney animated film storyboards script after participating in《Memory Loss》 3D animated movie storyboard design in 2008. This study was divided into literature, case studies and practice in three stages, beginning at describing the development of the storyboard, and it's importance to a movie and animation production, concluding the 5 major elements of the story, design, camera, camera moves with the time setting of five. Secondly studying three different style themes of Disney animated films, in accordance with the written script describing the scene, differentiates the opening scene, music scene, dialog view, romantic scene, Chase scene, a fight scene and end scene, analyzing composition, type of lens, camera movement and time setting. The findings, the story of the plot, characters, dialogue, scene terrain, the structure of the building and the rhythm of the music, such as the six II factors, affect the composition of three animated films shot percentage, type of lens, camera movement, and many view time. Third practice phase, wrote short stories, scripts, selected the Taiwanese native animals as main characters and the ecological environment in Taiwan as a backdrop, 2.35:1 new arts complex deformation of wide-screen format, applied research findings to the design of animation film script writing. Comparative analysis of the results and case studies of work conclusions, found the same animation films that are animal-role, because different plot, scene design, animal shows, produced different mirror design results. Study conclusions, creative review and modify, as the animation storyboard design references thereafter. Third practice phase, writing short stories, scripts, select the Taiwan native animals as main characters, Taiwan ecological environment as a backdrop, 2.35:1 new arts complex deformation of wide-screen format, apply research findings to the design of animation film script writing. Comparative analysis of the results and case studies of work conclusions, found the same animation films that are animal-role, because different plot, scene design, animal shows, produce different mirror design results. Study conclusions, creative review and modify, as the animation storyboard design references thereafter.