Zgodboris za študentski igrani film vnebovzetje / Sveti Črni vrh

Pečanić, Milko (author), Erič, Milan (mentor)

V diplomskem delu sem opisal proces izdelave zgodborisa za kratki igrani film, ki traja približno petindvajset minut. Teoretični del sem najprej naslonil na iskanje relevantnih primerov iz zgodovine zgodborisa. Po vzpostavitvi pravega odnosa do predmeta raziskovanja sem se v nadaljevanju lotil teoretske analize filmskega jezika (kader in plan, globina polja, snemalni koti in perspektive, gibanje, dinamika in prehodi, kompozicija ...), ki je za filmske ustvarjalce neizogiben za pripovedovanje zgodbe. Vendar pa likovno ustvarjanje, kar izdelava zgodborisa nedvomno je, zahteva med drugim tudi poznavanje likovnih prvin in obvladovanje risanja. Vsekakor je izbira teh prvin individualno pogojena, vendar je treba zgodboris ustvarjati hitro, ekspresivno in kontrastno. Zaradi tega sem tehniko risanja naslonil na likovno prvino svetlo–temno in na uporabo globinskih vodil. Linija je bila v tem primeru drugotnega pomena, ker služi predvsem za ustvarjanje svetlostnih, tonskih vrednosti, ki stojijo na prvem mestu. Združevanje filmskega in likovnega jezika sem udejanjil v končnem izdelku zgodborisa (po predloženem sinopsisu in scenariju), iz katerega je možno jasno videti osnovne plane, snemalne kote, kompozicijo, globino polja, tehniko, stil risanja, gibanje in prehode med kadri, dramaturgijo in ne nazadnje čustveno življenje glavnih likov.

• Language: Slovenian
• Keywords: vizualne komunikacije, grafično oblikovanje, zgodboris, film, filmska teorija, likovna teorija, ilustracija, diplomsko delo
• Work type: Bachelor thesis/paper
• Organization: ALUO - Academy of Fine Arts and Design
• Year: 2018
• PID: 20.500.12556/RUL-105229
• Publication date in RUL: 13.11.2018

Secondary language

• Language: English
• Title: Storyboard for a student film ascension / St. Črni vrh

Abstract

In the BA thesis I described the process for producing storyboard for a short feature film, about 25 minutes in length. I first leaned on the theoretical part to find relevant examples from the storyboard history. After establishing the right relation to the subject of research, I went on to undertake theoretical analysis of the film language (frame and plan, depth of field, recording angles and perspectives, motion, dynamics and transitions, composition ...), which is necessary for storytelling. However, artistic creation of storyboard undoubtedly requires, among other things, the knowledge of artistic elements and drawing skills. In any case, the choice of these elements is individually conditional, but it is already in the very nature of the storyboard that it is created quickly, expressively and contrastively. In this way, I applied the drawing technique to the visual element of light–dark and to the use of depth guides. In this case, the line was secondary, as it primarily serves to create tone values that stand in the first place. I combined the film and visual language in the final product of the storyboard (according to the submitted synopsis and scenario) from which it is possible to clearly see the basic planes, the recording angles, the composition, the depth of the field, the technique of drawing, the movement, dramaturgy and emotional life of the main characters.

• Keywords: visual communications, graphic design, storyboard, film, film theory, art theory, illustration, BA thesis