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[yishu-gong]

With strong rhythmic audio is the most appropriate choice for my background music, for the whole video, "speeders" and "police cars" from the identity must be a state of incompatibility. So a background music that adds tension and rhythm is what I need to use. To accomplish this effect, I chose to use a very strong drum beat and on top of this with a kind of arrow on the string melody, to echo the plot. Before the sports car leap, almost caught by the police car, successfully crossed before the introduction of the melody with the previous rhythm, in order to achieve a temporary escape after the sense of complacency. But after the police car also crosses, the strong rhythm continues and matches the melody to form the final effect. Finally, after the sports car overturned the police car, the background music with the sound of the collision momentarily stopped and returned to the calm white noise of the night.

[yishu-gong]

In order to make this process more natural and better connect with the subject of the car chase, I chose to fill each shot of the perspective change process with the audio of the helicopter. This is to better illustrate the relationship between the subject and the scene, and to re-enforce that all the landscapes were shot in miniature in one room. With each change in perspective, the helicopter's takeoff and landing can be felt. When there is a scene that requires a significant change in perspective, the sound of the helicopter will appear and become louder, and when the perspective is fixed and remains static for a period of time, it is natural to determine that the ""helicopter"" at this time has landed and began to shoot fixed point.

[yishu-gong]

The "car chase" is the core element of the video, so I needed to give the two cars a stronger sense of identity. For the speeding sports car, I chose a louder, more powerful engine roar. But for the police car element, at first I really did not have a more intuitive way to achieve the identity other than the police bell. It was the police lights that inspired me, so I turned the light source of the whole picture into a red and blue light with the same rhythm of flashing police lights sound. This operation not only increases the tension of the whole picture, but also can fully illustrate the subtext of "start chasing" through the alternate flashing of light sources.

[yishu-gong]

For the story of night, in addition to using black as the main subject of the scratch painting at the beginning, I also needed to emphasize the theme of "night" in the actual shooting. Under such conditions, I needed to turn off the headlights in the room. Accordingly, I used a fill light as my main light source to shape the moonlight, so I needed a warm light source with a slightly lower color temperature. As the reflection effect is shining from the front to my subject, so the front of the camera presents a backlight effect, two cars chasing each other are speeding towards the light, and the front of the screen looks like it can add some sense of immersion in the dark environment.

[yishu-gong]

Because I also used 2D to 3D conversion for this video, I wanted to make the concept of conversion more natural, so that there is a connection between the two, rather than a rigid switch. Since I started with scratching paint, I wanted to use the paint board as a platform to make the transition. The two toy cars can drive on it as the main characters afterwards. So in the video I wanted the panel to be a road area for the toy cars to drive on, creating a natural visual transition. In the experimental footage, this transition is significantly better than the effect of the footage where the toy cars appear directly. The toy car on the top can do smooth driving effect, the perfect effect of a narrative to the screen, and the smooth drive in from both sides of the propulsion effect and after the effect of intense chase also formed a very good contrast.

[yishu-gong]

The theme of my film is about a tense car chase, like the classic police chase elements, the difference is the location of the chase, because space is limited, all the content of the car chase will take place in my room, in a miniature way to narrate. 

The main idea of the work will still be presented in the form of stop-motion animation, in addition to a certain transition from 2D flat drawings to 3D props, both the "cars" chasing each other and the scenery passing by while they are chasing each other will be pieced together from frame by frame photos and form a complete narrative whole. Since my story begins on a dark night, and the story begins with a 2D drawing, a scratchy drawing created on a black crayon background will be the best way to narrate the story, with the black color contrasting very sharply with the two cars chasing each other, and the underlying bright crayon color naturally giving a sense of flow in the chase. 

Tense and fast rhythm is the main theme of my music design, but at the beginning I plan to use some real sounds as the opening track, these include the sound of opening and closing the door, the sound of starting the car and the sound of tires on the ground, and then with the sound of sirens and then the introduction of fast-paced beat and tension in the atmosphere of the sound effects. Toy cars as the subject of 3D shooting, 2D flat drawings of scratching need crayons, and audio software for post-editing.

[yishu-gong]

Stop-motion animation is the main form of my project and the theme I have chosen is related to monsters, films and movies of monsters attacking human cities that have inspired me. But I don't want the work to be full of destruction and devastation, I want to focus on the interaction between the monsters' movements and the rhythm of the action. Secondly, the process of moving from 2D to 3D monsters is also a process that I want to reflect in my work. For the 2d image, painting can be a good fit, for the 3d image I intend to use some soft plastic toy monsters for the stop-motion shots.