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Media Cultures 1 ‘Real Worlds of Animation’ Week 8 Tracey Meziane Benson

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  • 1. Media Cultures 1 Real Worlds of Animation Week 8 Tracey Meziane Benson

2. To explore animation in the context of 3 issues

  • Realism effects in animation
  • The distinctions that we make between fiction and non-fiction in screen media
  • How we can tell stories through animation
  • eg.Waltz With Bashir(2008)

3. Some animations to consider 4. Other examples:

  • The Nightmare Before Christmas(Tim Burton,1993)
  • Big Buck Bunny(Blender 2007)
  • Howls Moving Castle(MiyazakiHayao, 2004)
  • Final Fantasy: The Spirits Within (HironobuSakaguchi, 2001)

5. Cinematic Animation

  • DRAWING & PAINTING IN 2 DIMENSIONS
  • traditional cel animation frame by frame
  • Drawing into the computer and animating via software programs
  • Compositing
  • Rotoscoping
  • SCULPTING IN 3 DIMENSIONS
  • Stop-action: claymation, puppets, frame by frame
  • Computer generated (CG) animation
  • CG Figural Morphing

6. Digital Compositing

  • Operates new process of super-imposition in editing film.This process is a layering of many digitalised images in the creation of a shot a sequence of images created through a single camera set-up.It involves matching a real cameras position with a virtual cameras viewing position to create a high level of realism.The aim is usually to create effects which cannot be noticed.

7. Bullet Time timeslice technique

  • A combination of new and old media techniques: green screens, wireframe computer simulations, an arc of still cameras, motion cameras, compositing

8. Questions

  • How do we understand animation as representation?
  • What is the relationship between animation and the real world.
  • Has this relationship changed with animations created via computer technologies?
  • What happens to the story when animation and human acted cinema combine?

9. Can we understand animation as Puppetry?

  • A definition of puppetry in the context of computers?
  • if the signification of life can be created by people, then the site of that signification is to be considered a puppet.
  • Tillis, Steve (1999). The Art of Puppetry in the Age of Media Production,The Drama Review , 43.3, 185.http://muse.jhu.edu/journals/the_drama_review/v043/43.3tillis.html

10. Realism : what does it mean in the context of animation?

  • We can define here realism to mean the relationship between a representation of an object (through sound, image, movement) and how closely we think this representation evokes in us how the object exists for us in real life.
  • Are line drawings, stop action any less realistic then for us than CGI animation such asFinal Fantasy, The Spirit Within ?

11. Have our ideas of realism changed with computer technologies?

  • This is an open question still
  • Perceptual Realism : where we pretend for a while that the filmmakers really know what dinosaurs look like because they are contextualised in what looks like a representation of real space:
  • A perceptually realistic image is one which structurally corresponds to the viewers audiovisual experience of three-dimensional space
  • Prince, Stephen (1996). True Lies: Perceptual Realism, Digital Images and Film Theory,Film Quarterly , 49:3, 32.

12. DV Realism - Manovich

  • I do believe that new media re-configures a moving image in a number of very important ways the shift from montage to compositing; the slow historical transition from lens-based recording to 3-D image synthesis; the new identity of cinema as a hybrid of cinematography and animation.
  • Lev Manovich, Reality Media, 2001
  • http://www.manovich.net/TEXT/cinema-cultural.html

13. Virtual Puppets

  • Animatronics
  • Stop Action
  • Scanning from models in real life to produce moving CGIs Computer Generated Images:
  • - the strings articulation variables
  • - Kinematics creating and saving gestures
  • - Motion capture

14. Vactors

  • CGvirtual actorsmeant to do the same theatrical, storytelling work as a human actor often used in crowd scenes and in special effects via compositing
  • In the coming era of digitized representation the crucial questions have less to do with reality than with communication.
  • Creed, Barbara (2000). The cyberstar: digital pleasures and the end of the Unconscious,Screen , 41, Spring 2000, 83.

15. BUT can animation also be REAL?

  • The boundaries between fiction and
  • non-fiction:
  • Can we record real life via animation? Eg. William Kentridge, Ari Folman,Richard Linklater
    • What will come(Kentridge)
    • Waltz WithBashir(Folman)
    • Waking Life(Linklater)

16. And William Kentridge

  • stone age animation