Creating moving images, or movies for architectural visualization, takes a slightly different but related mindset to still images (stills). That’s because an animated sequence shows off more of the scene than in a still. For example, you might see the back of a building which you wouldn’t have bothered modeling for a still. Now you have to model it.
Here’s a recap
But this time, all this has to be kept in mind for the duration of a 30-second, 5-minute, or even feature length presentation made up of many views of the model. This can quickly become an overwhelming premise. So, we need to do it like all good movie producers do it. And guess what? You already know what that is, and practice it just about every day, because we’re simply talking about breaking it down into bite sized chunks.
Some architect didn’t sit down one day and start sketching Rome, starting with the Coliseum and working outwards until he’d finished the whole city. It took ages (literally) and involved many different designers and designs. So, Rome was made up of component parts, and each component part was made up of individual bricks. Just like you do every day with other design projects, home DIY, life goals, or even a holiday itinerary, you’re going to break down your animation scene by scene and shot by shot.
Even if you already have a fully detailed model that you can quite happily view from any angle, you need to start by planning what you want to see in your animation. Actually, that’s a complete lie. Why would the client want to see what you want to see? You’re interested in buildings for pity’s sake! So, we must start by filling the boots of the client or “audience” and from now on only think in terms of their wishes. If there wes a switch to turn them on, what would it be?
If you were to visit the quaint English village of Bourton-on-the-Water, what would be the absolute “must sees” of your trip? If you have travelled for 17 days to get there, you knew you could never go back there again, and you were the last one to go with a film camera before it was leveled by hungry bulldozers? So, write out your itinerary. There’s a method of doing this that’s completely easy and foolproof. You can do it when you’re on the train or eating your cornflakes:
It doesn’t matter if you spell desirability wrong. That’s the point of the exercise, no wrong answers, don’t worry about spelling or getting the best stuff down. Just get the flow going. When you’re done, in the Quality column give a rating 1 to 5 for how “nice” this part of this particular development is:
Without knowing it or finding it remotely difficult, you have written the itinerary for your animation. Easy wasn’t it? You probably don’t think you’ve achieved much, but you have. By using this method you were forced to be dispassionate about your design or model. You were also forced to separate out what you like (as a building feature lover) and what your audience wants (as the ones wanti ng to be in it!). What you have in the third column is a definitive rating of the impact of each feature on your audience. Go ahead and label it “impact” now.
You are now ready to sketch out the storyboard, because you now know what to include in your animation and what to leave out. Take a pink marker and highlight everything with a score of 20-25. This is your prime real-estate. Take an orange marker and highlight scores of 12-16. And take a yellow marker to all the nines. Nines are just about tolerable. What you now have is a color coded scene allocation system. When deciding what to put into your animation, you should get all the pinks in as many times as you can. You should get the oranges in the rest of the time. And you should use the yellows to pad the content out where necessary and give an overall context to the presentation. And guess what? Anything you’ve not colored will actually detract from the presentation and stop people buying the property.
Don’t you dare even model them!
As you’ve discovered, anything in your list that didn’t get colored could easily detract so much from your presentation that someone who would normally be enamored with it is left cold instead. So, these areas should be minimized if possible, but what do you do if they’re a central feature and have to be included for context (or honesty)? For example the electricity enclosure, the bin store, or the plant room? Here’s a quick list of ways to overcome this problem:
Probably as much of your effort should be spent in minimizing bad features as promoting good ones. You should aim at showing the development in its best light and greatest potential.
Now that you’ve decided what needs to be included and what needs to be left out, you need to decide how long to allocate to each, and what the camera views should be. Do the following on paper with sketches.
The following steps are shown specific to Windows Movie Maker, but are similar to all basic video editing software (Adobe Premiere Elements, Final Cut Express, iMovie, or similar)
You just storyboarded your whole animation so that you now know exactly where and what you need to go and model. You did this in Movie Maker or something similar, creating place markers so you can easily import your moving clips later. This saves an enormous amount of time in the long run because you will only model, texture, animate, and render what you’re going to see, not what’ll get left on the cutting room floor. If you already have your SketchUp scene completed, you could take screenshots from that instead of sketching it out. You can use this later, as a template to insert the actual animations into.
When you’re doing a complex project such as an animation, it’s vital to get a second or third pair of eyes onto it early on. Use your rough and ready movie to talk it through with a colleague, tutor, or a “clued up” friend. It’s important to do it at this early stage because you haven’t invested lots of time and emotion into it yet.
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