Rhythm
This chapter focuses on the notion of 'rhythm,' both in animated visuals and in sounds.
In music, listening to the beats and accents in a song can identify its rhythm. It is directly related to pace. A rhythm with a consistent pace can be recognized easily. One with a variable pace breaks predictability, so the choice depends what purpose the producer wants the piece to serve. Rhythmic editing is used when subordinating narrative concerns in the editing process to instead establish rhythmic patterns. It began with French Impressionist and Soviet Avant-Garde filmmakers. It can also been seen in Hollywood productions to a lesser extent in dance sequences and musical dramas/comedies.
Timing differs from 'tempo.' Indicates the number of beats in a measure.Timing of beats and accents helps to determine the underlying visual rhythm.
Frame Duration is the length that a composition's segments remain onscreen. You govern the amount of time viewers can see the content. can be as short as a single frame, or as long as a thousand. To create a consistent rhythm, one should make the segments approximately the same duration.
Repetition of Image and Action recurring elements that have matching or similar images or actions can create a uniform rhythm. In music, notes and patterns of notes that repeat at regular intervals create the same effect.
Variable Rhythm changes over time to vary a composition's mood. Breaks predictability and allows new material to be introduced.
Emphasis marks an interruption in the fundamental pattern of events. Can break predictability and define a focal point. Is achieved by providing accents, or exaggerating character movements. In motion design, it is used to contribute towards a visual hierarchy.
Varying Event Frequency and Tempo for example interrupting regular motion with slow motion. The purpose is to block a viewers normal expectation of a narrative.
Varying Frame Duration combining sequences consisting of different frame lengths creates irregular rhythms. Shortening each consecutive sequence can produce a notion of acceleration. Serves to refresh the audience's interest.
Pause varies a composition's rhythm. Can be a series of black frames, or an interval of frozen action. Gives viewers time to rest, to emphasize a point, to create tension.
Showing posts with label reading. Show all posts
Showing posts with label reading. Show all posts
Wednesday, 30 October 2013
The Compete Animation Course, Chris Patmorr
This chapter felt relevant to the current animation course that I am studying, and I felt I learned a great deal more from it than other previous readings, in just a mere few pages. It also seemed to be more recently written than the former two, so the information was not as dated. It spoke about home recording as well as professional standard sound production, which I would intend to use more of in my work. Patmore gives a few tips and instructions for setting up a functioning recording 'studio' setup at home. It gives advice for people searching for sound FX to browse online resources, or to look at CD's for purchase. Likewise, he mentions software to use for home music production, and ways to source them online. We are warned of the dangers of using noncredited copyrighted music without permission.
Patmore delves into the techniques behind lip-syncing, and gives detailed instruction on how to do it accurately for inexperienced animators. I would have found this very useful were not for the fact that I won't be including speech in my animation, though I no doubt will come back to these tips if ever I am in future.
The final section of the chapter discussed crediting and working with musicians. paid particular attention to this part, as I wanted guidance and advice for working with my music composer for my animation's soundtrack. It advised bringing the composer in at the storyboard stage, which I have indeed dome already,a and intend to send him also a copy of my completed storyboard. This way the animation can perform to the cue points and synchronize in moods.
A tip was also given on how to create credits for a film. It recommends including them at the end of the piece, and to include the names and jobs of all the people who contributed to working on the animation. This includes copyright notices and other legal disclaimers. It gives a diagram of how to create rolling credits using both Adobe After Effects, Flash, and Premiere Pro, which is very helpful.
Patmore delves into the techniques behind lip-syncing, and gives detailed instruction on how to do it accurately for inexperienced animators. I would have found this very useful were not for the fact that I won't be including speech in my animation, though I no doubt will come back to these tips if ever I am in future.
The final section of the chapter discussed crediting and working with musicians. paid particular attention to this part, as I wanted guidance and advice for working with my music composer for my animation's soundtrack. It advised bringing the composer in at the storyboard stage, which I have indeed dome already,a and intend to send him also a copy of my completed storyboard. This way the animation can perform to the cue points and synchronize in moods.
A tip was also given on how to create credits for a film. It recommends including them at the end of the piece, and to include the names and jobs of all the people who contributed to working on the animation. This includes copyright notices and other legal disclaimers. It gives a diagram of how to create rolling credits using both Adobe After Effects, Flash, and Premiere Pro, which is very helpful.
Animation: A Guide To Animated Film Techniques, Roger Noake
Chapter 3: Sound and Image
The animators of films usually create the visual images after the soundtrack has been recorded, which allows them a lot of control over synchronization. Like previous readings on the subject, this sound reading delves into the history of sound recording in combination with visual arts, namely animated movies. It talks about the different types of sync movies can contain, such as 'parallel' where sound and image run in parallel, or 'printing sync,' when the sound is advanced slightly to make an allowance for screen projection logistics, or 'lip sync' which is the synchronization of lip movements with speech. The reading was a bit dated because it talks mainly about recording on physical film, while nowadays most animation is finalized digitally. It is interesting in terms of a historical learning perspective, but not particularly useful. One term popped up here again that I remembered from a reading previously: Mickey Mousing refers to sound matching perfectly to the action on-screen, which can appear mechanical and forced. Instead these days it is common for sound to occur a minute second after an action, as we would hear it in real life.
this reading adds another category of atmosphere to the already existing three sound categories.
A point brought up that had not been mentioned before in our classes or readings was using a documentary approach to character voicing; that is, instead of recording voice-overs for existing characters, instead animating sourced dialogues. I can think of two prominent examples of this that I have watched. The first is Brown Bag Films' 'Give Up Yer Aul Sins' which reenacts original recordings of children in Dublin schoolrooms in the 1960's.
The second is 'The Ricky Gervais Show' which is a TV series released by HBO, which is animated to original recordings of Gervais and his friends for an online podcast.
This chapter went into great depth of detail about the technicalities of sound recording and syncing, which although interesting and useful for the future, I did not find particularly relevant to my studies at the moment.
The animators of films usually create the visual images after the soundtrack has been recorded, which allows them a lot of control over synchronization. Like previous readings on the subject, this sound reading delves into the history of sound recording in combination with visual arts, namely animated movies. It talks about the different types of sync movies can contain, such as 'parallel' where sound and image run in parallel, or 'printing sync,' when the sound is advanced slightly to make an allowance for screen projection logistics, or 'lip sync' which is the synchronization of lip movements with speech. The reading was a bit dated because it talks mainly about recording on physical film, while nowadays most animation is finalized digitally. It is interesting in terms of a historical learning perspective, but not particularly useful. One term popped up here again that I remembered from a reading previously: Mickey Mousing refers to sound matching perfectly to the action on-screen, which can appear mechanical and forced. Instead these days it is common for sound to occur a minute second after an action, as we would hear it in real life.
this reading adds another category of atmosphere to the already existing three sound categories.
A point brought up that had not been mentioned before in our classes or readings was using a documentary approach to character voicing; that is, instead of recording voice-overs for existing characters, instead animating sourced dialogues. I can think of two prominent examples of this that I have watched. The first is Brown Bag Films' 'Give Up Yer Aul Sins' which reenacts original recordings of children in Dublin schoolrooms in the 1960's.
The second is 'The Ricky Gervais Show' which is a TV series released by HBO, which is animated to original recordings of Gervais and his friends for an online podcast.
This chapter went into great depth of detail about the technicalities of sound recording and syncing, which although interesting and useful for the future, I did not find particularly relevant to my studies at the moment.
Monday, 28 October 2013
Art In Motion, Maureen Furniss
Chapter 5: General Concepts: Sound and Structural Design
A big difference between amateur and professional animation is how sound is employed. Typically the most important sounds will be the loudest; such as dialogue in most cases. This is a hierarchical classification of sound. The listener perceives this hierarchy and it focuses their reading of a scene.
The reading goes into detail about synchronizing lip movement to voice tracks for character dialogue, though I will not focus on this in particular as other than a broad knowledge, the specifics are not very useful to me. I am glad I have to avoid the painstakingly precise work that it requires! Voice recordings are important both both for the development of action and also for affecting characterization. This was apparent in Aladdin, ad the voice of the genie clearly affected the way he was designed.
Some very famous animated characters have no voices at all, such as Road Runner, Tom and Jerry and the Pink Panther. All of these are animal creatures, which is what my main character will be, so I feel more secure in my choice to not make him speak now. He will rely on his physical actions and facial emotions instead. I also want to avoid language barriers that are presented alongside dialogue.
The chapter takes a case-study look at Danny Elfman as a composer of popular animation scores and soundtracks. He wrote the intro themes to 'The Simpsons' and 'Desperate Housewives.' He provides the voices for characters on many films, and has worked on pieces such as 'The Nightmare Before Christmas,' 'Beetlejuice,' 'Mission:Impossible,' 'Men In Black,' and 'The Corpse Bride.'
A big difference between amateur and professional animation is how sound is employed. Typically the most important sounds will be the loudest; such as dialogue in most cases. This is a hierarchical classification of sound. The listener perceives this hierarchy and it focuses their reading of a scene.
The reading goes into detail about synchronizing lip movement to voice tracks for character dialogue, though I will not focus on this in particular as other than a broad knowledge, the specifics are not very useful to me. I am glad I have to avoid the painstakingly precise work that it requires! Voice recordings are important both both for the development of action and also for affecting characterization. This was apparent in Aladdin, ad the voice of the genie clearly affected the way he was designed.
Some very famous animated characters have no voices at all, such as Road Runner, Tom and Jerry and the Pink Panther. All of these are animal creatures, which is what my main character will be, so I feel more secure in my choice to not make him speak now. He will rely on his physical actions and facial emotions instead. I also want to avoid language barriers that are presented alongside dialogue.
The chapter takes a case-study look at Danny Elfman as a composer of popular animation scores and soundtracks. He wrote the intro themes to 'The Simpsons' and 'Desperate Housewives.' He provides the voices for characters on many films, and has worked on pieces such as 'The Nightmare Before Christmas,' 'Beetlejuice,' 'Mission:Impossible,' 'Men In Black,' and 'The Corpse Bride.'
Film Art, David Bordwell & Kristin Thompson
Chapter 7: Sound in the Cinema
This chapter looks at how sound in film is constructed separately from the images and is not a natural occurrence. Because it can be manipulated independently of the visuals, it gives flexibility to the sound designer. The writers go into detail about the history of sound in cinema, from 1920's talkies to old classics like 'Casablanca,' to contemporary works such as 'Star Wars.'
Psychologically we are conditioned to connect with the things that engage most of our senses. The viewer gets a more complex perceptual experience both watching and listening at the same time.
Sound serves multiple functions in film: to focus our attention in one direction, eg the creaking of a door off camera signifies something about to happen, and makes us more wary. It cues us to form expectations. Horror genre films often use this to their advantage. Sound also gives another value to silence. This is a feature that I hope to employ in my own animation. It can act as a counterbalance and negative, bringing contrast and a moment of reflection or tension to the visual piece.
Sound is divided into speech, music, noise (or effects).
Loudness is the volume of the audio. Soundscape often drops when dialogue is introduced. Loudness helps to perceive distance.
Pitch is the highness/lowness of sound. It helps us distinguish music and speech from noises, also between different objects, e.g. a hollow sound created with a thump. Important in casting vocal actors,
Tibre is the colour or tone quality of sound. An example is a voice being nasal. It is what the listener feels when they hear a sound.
Mixing is the process of combining and working on sounds. It is the construction of the stream of auditory information that plays across the images. Mixture can be sparse or dense.
Synchronous sound is the matching of audio with visuals. It can by rhythmically related.
Animation typically records the music, dialogue and sound effects before the image track is made. My friend is not composing a piece to go alongside the animation, while I have just shown him initial ideas and designs. I will not have any dialogue in my animation, so there is no need to record vocals or have voice actors. I don't want to make a feature or focus of sound effects. This is both for practical reasons, because I do not find myself that strong in sound editing or recording, and also because I want to make the two minutes more like a music video with a narrative, than a story enhanced by music. I want the track to be one of the main features, undistracted by other elements. Because I don't have particularly action filled sequences there is no need to give effects to them to enhance the atmosphere.
Diegetic vs. Non-diegetic sound
Diegetic sound has a source in the story world. It appears to be created in the on-screen image. Dialogue, sound effects, atmospheric noise, and music of which we can see the musicians playing are all included in this. Sound perspective can be suggested by the loudness, pitch and timbre of the sounds. Non-diegetic sound would be that which is purposefully constructed off screen. It comes from outside the story world, such as a narrative voice-over, the score tracks and most music. My piece will feature mainly the latter, because I will have no dialogue, and the soundtrack will have music that will not be visibly played on-screen.
This chapter looks at how sound in film is constructed separately from the images and is not a natural occurrence. Because it can be manipulated independently of the visuals, it gives flexibility to the sound designer. The writers go into detail about the history of sound in cinema, from 1920's talkies to old classics like 'Casablanca,' to contemporary works such as 'Star Wars.'
Psychologically we are conditioned to connect with the things that engage most of our senses. The viewer gets a more complex perceptual experience both watching and listening at the same time.
Sound serves multiple functions in film: to focus our attention in one direction, eg the creaking of a door off camera signifies something about to happen, and makes us more wary. It cues us to form expectations. Horror genre films often use this to their advantage. Sound also gives another value to silence. This is a feature that I hope to employ in my own animation. It can act as a counterbalance and negative, bringing contrast and a moment of reflection or tension to the visual piece.
Sound is divided into speech, music, noise (or effects).
Loudness is the volume of the audio. Soundscape often drops when dialogue is introduced. Loudness helps to perceive distance.
Pitch is the highness/lowness of sound. It helps us distinguish music and speech from noises, also between different objects, e.g. a hollow sound created with a thump. Important in casting vocal actors,
Tibre is the colour or tone quality of sound. An example is a voice being nasal. It is what the listener feels when they hear a sound.
Mixing is the process of combining and working on sounds. It is the construction of the stream of auditory information that plays across the images. Mixture can be sparse or dense.
Synchronous sound is the matching of audio with visuals. It can by rhythmically related.
Animation typically records the music, dialogue and sound effects before the image track is made. My friend is not composing a piece to go alongside the animation, while I have just shown him initial ideas and designs. I will not have any dialogue in my animation, so there is no need to record vocals or have voice actors. I don't want to make a feature or focus of sound effects. This is both for practical reasons, because I do not find myself that strong in sound editing or recording, and also because I want to make the two minutes more like a music video with a narrative, than a story enhanced by music. I want the track to be one of the main features, undistracted by other elements. Because I don't have particularly action filled sequences there is no need to give effects to them to enhance the atmosphere.
Diegetic vs. Non-diegetic sound
Diegetic sound has a source in the story world. It appears to be created in the on-screen image. Dialogue, sound effects, atmospheric noise, and music of which we can see the musicians playing are all included in this. Sound perspective can be suggested by the loudness, pitch and timbre of the sounds. Non-diegetic sound would be that which is purposefully constructed off screen. It comes from outside the story world, such as a narrative voice-over, the score tracks and most music. My piece will feature mainly the latter, because I will have no dialogue, and the soundtrack will have music that will not be visibly played on-screen.
Monday, 21 October 2013
Complaints in 'The Simpsons'
I read an interesting article on The Telegraph website (by Charlotte Runcie) regarding 'The Simpsons,' censorship and public reception. It detailed all the complaints that had been made in the USA in the past 3 years by the public to the Federal Communications Commission (FCC). This reminded me of the reading a few weeks previous from Forbidden Animation by Cohen. It brings in to question the notion of decency in cartoons. The complains listed show that even now, years after the harsh standards of cartoon decency in the early 20th century, many viewers still take a hard line on what they consider appropriate to be shown in cartoon form.
Some of the complains were made to address the show's apparent use of 'bad language,' such as poop, pee and toosh. Others called in to question some of the show's scenes of partial nudity, while more complaints still made accusations of blastphemy in episodes such as the Tree-house of Horror specials.
The prudish nature of these complains makes one question whether some viewers are easily offended and very particular, or whether the public takes a harder line on scenes of a mildly graphic nature and minimal swearing because they are being depicted in cartoon form, and as such they expect it to be more childishly innocent and produced with a young and impressionable audience in mind.
Some of the complains were made to address the show's apparent use of 'bad language,' such as poop, pee and toosh. Others called in to question some of the show's scenes of partial nudity, while more complaints still made accusations of blastphemy in episodes such as the Tree-house of Horror specials.
The prudish nature of these complains makes one question whether some viewers are easily offended and very particular, or whether the public takes a harder line on scenes of a mildly graphic nature and minimal swearing because they are being depicted in cartoon form, and as such they expect it to be more childishly innocent and produced with a young and impressionable audience in mind.
Friday, 18 October 2013
Art In Motion, Maureen Furniss
Chapter 3: Alternatives in animation production
This chapter explains the differences and similarities in the modes of production between the commercial and independent animation industries. One cannot be understood without acknowledging the other. In fact, most independent animations artists have at one point in their careers worked for the commercial industry.
The dominant features of each form are as follows: (most of these are exaggerated extremes)
This chapter explains the differences and similarities in the modes of production between the commercial and independent animation industries. One cannot be understood without acknowledging the other. In fact, most independent animations artists have at one point in their careers worked for the commercial industry.
The dominant features of each form are as follows: (most of these are exaggerated extremes)
- Hegemonic forms tend to have big budgets, while subversive work to small budgets.
- Industrial are made by groups as opposed to independent made by individuals.
- Traditional forms utilise traditional techniques, but experimental forms alter media.
- Hegemonic are intended for a mainstream audience, subversive are limited to small-scale exhibitions.
- Industrial are dominated by marketing concerns, independent favour aesthetic concerns.
- Traditional forms are typically narrative, while experimental forms are not.
- Hegemonic productions are mimetic and linear, but subversive productions are abstract and non-linear.
- Industrial forms reflect western, traditional societal norms, while Independent reflect alternative lifestyles.
- Traditional forms support dominant beliefs, experimental forms challenge them.
While the dominant studio style employs cels to create animation, many independent artists who have studied fine art prefer to employ different methods of creating 2D images. Some use drawings and paintings on paper, which is what I would be a fan of using. Both for budgeting reasons, because acetate cels are expensive to come by, but also for aesthetic reasons, this is the technique I prefer to use. They talk about examples of watercolour backgrounds, which i would quite like to experiment with for my own piece, as I like watercolours as a medium and the effect they create.
Motion Graphic Design, Jon Krasner
Chapter 9: Conceptualisation, Developing Ideas
Defining the objective Every design begins with an objective. My objective is to create a 2 minute animated piece with a soundtrack and a clear sense of narrative story line. This should be kept in mind from conceptualisation through to the final execution.
Targeting the audience Visual communication (i.e. animation) must facilitate a reaction from an audience, so it is important to define the audience you are aiming towards with your production. My audience is fellow young adults, like myself.
Researching the topic A thorough analysis of your subject matter should occur before you begin to conceptualise. This has occurred throughout the course already with the amount of class sessions and readings I have been assigned, through which I have learnt all about animation as a discipline and form of communication. I have been conducting research in the form of searching through books, films and online for inspiration for my piece.
Understanding the restrictions Budgetary constraints can limit the use of materials and equipment. I have been able to download any of the software I need online, and the remaining ones I believe I will use are all provided on the university computers. Creators must be realistic about what can and cannot be accomplished within the given window of time that is available. I have a limited time frame in which to create the animated piece, and will be restricted within that by how much animation software technology I can teach myself, and how much time I can dedicate to working on this particular project while also balancing my other coursework from different modules. I am also restricted by the brief I am working to, as it must be based on a poem of my choosing; have an obvious narrative structure; feature credits; have a soundtrack but no narrative voice-over or dialogue or lyrics.
Considering image style There are several types to choose from such as realistic, photographic, abstract, illustrative etc. These also sub divide into visual styles of of graphic, textural, sketchy, blended etc. The style should reflect the theme or message of your narrative. I have been looking at inspirational illustrators and animators to gather ideas from, and have been practising with character design in my spare time to try to decide on a visual style that I am, strong at creating and that I personally like.
Brainstorming I brainstorm at home on my laptop, while listening to classical music. I try to remove myself from any other distractions. I typically draw out mind maps using my tablet directly onto Photoshop, which I can then upload on my blog, but otherwise I carry a small sketch book around with me so that I can write down any ideas that spring to mind.
Evaluation This must take place once you have completed brainstorming, to determine what to discard and what to keep. Is it realistic enough to implement technically? Will the means to implement it fit within a budget? Will it appeal to my desired audience?
Clarification and Refinement The book talks about these terms with relation to client viewing and criticism, but since I am not working for a client, I must receive criticism and advice from my animation tutors to work off. If there are any sequences, concepts or ideas that they do not understand, I have to find a way to convey them differently so they will be viewed by the audience as I have desired.
Storyboarding This is the final phase of conceptualisation. It is a cohesive succession of frames that provide a visual map of how events will unfold over time. I am required to complete a storyboard to prepare for my animated piece, of about 25 frames over 5 pages or so, and each needs to reference a key frame in the animation. I am having a difficult time at the moment setting out the storyline of the narrative, and visualising what exactly will happen in my animation. There must be continuity and a cohesion between the style of images. Most storyboards work to a 4:3 ratio.
Animatics These are the next step on from Storyboarding, as they add motion to images and addting transitions and synchronized sound. We are required to create a short animatic for our first hand-in assessment. This piece is not meant to span the whole length of our narrative, but instead be a reflection or indication of the style, aesthetic, mood and form of animation we will use. It will allow both myself and my tutors to pinpoint potential problems related to light, cinematography, motion and sound production. I have been working with my sound composition artist to have a short piece ready for the time of the hand-in deadline.
Defining the objective Every design begins with an objective. My objective is to create a 2 minute animated piece with a soundtrack and a clear sense of narrative story line. This should be kept in mind from conceptualisation through to the final execution.
Targeting the audience Visual communication (i.e. animation) must facilitate a reaction from an audience, so it is important to define the audience you are aiming towards with your production. My audience is fellow young adults, like myself.
Researching the topic A thorough analysis of your subject matter should occur before you begin to conceptualise. This has occurred throughout the course already with the amount of class sessions and readings I have been assigned, through which I have learnt all about animation as a discipline and form of communication. I have been conducting research in the form of searching through books, films and online for inspiration for my piece.
Understanding the restrictions Budgetary constraints can limit the use of materials and equipment. I have been able to download any of the software I need online, and the remaining ones I believe I will use are all provided on the university computers. Creators must be realistic about what can and cannot be accomplished within the given window of time that is available. I have a limited time frame in which to create the animated piece, and will be restricted within that by how much animation software technology I can teach myself, and how much time I can dedicate to working on this particular project while also balancing my other coursework from different modules. I am also restricted by the brief I am working to, as it must be based on a poem of my choosing; have an obvious narrative structure; feature credits; have a soundtrack but no narrative voice-over or dialogue or lyrics.
Considering image style There are several types to choose from such as realistic, photographic, abstract, illustrative etc. These also sub divide into visual styles of of graphic, textural, sketchy, blended etc. The style should reflect the theme or message of your narrative. I have been looking at inspirational illustrators and animators to gather ideas from, and have been practising with character design in my spare time to try to decide on a visual style that I am, strong at creating and that I personally like.
Brainstorming I brainstorm at home on my laptop, while listening to classical music. I try to remove myself from any other distractions. I typically draw out mind maps using my tablet directly onto Photoshop, which I can then upload on my blog, but otherwise I carry a small sketch book around with me so that I can write down any ideas that spring to mind.
Evaluation This must take place once you have completed brainstorming, to determine what to discard and what to keep. Is it realistic enough to implement technically? Will the means to implement it fit within a budget? Will it appeal to my desired audience?
Clarification and Refinement The book talks about these terms with relation to client viewing and criticism, but since I am not working for a client, I must receive criticism and advice from my animation tutors to work off. If there are any sequences, concepts or ideas that they do not understand, I have to find a way to convey them differently so they will be viewed by the audience as I have desired.
Storyboarding This is the final phase of conceptualisation. It is a cohesive succession of frames that provide a visual map of how events will unfold over time. I am required to complete a storyboard to prepare for my animated piece, of about 25 frames over 5 pages or so, and each needs to reference a key frame in the animation. I am having a difficult time at the moment setting out the storyline of the narrative, and visualising what exactly will happen in my animation. There must be continuity and a cohesion between the style of images. Most storyboards work to a 4:3 ratio.
Animatics These are the next step on from Storyboarding, as they add motion to images and addting transitions and synchronized sound. We are required to create a short animatic for our first hand-in assessment. This piece is not meant to span the whole length of our narrative, but instead be a reflection or indication of the style, aesthetic, mood and form of animation we will use. It will allow both myself and my tutors to pinpoint potential problems related to light, cinematography, motion and sound production. I have been working with my sound composition artist to have a short piece ready for the time of the hand-in deadline.
Wednesday, 16 October 2013
Film Art, David Bordwell & Kristin Thompson
Chapter 4: The Shot: Mise-en-Scene
This chapter delves in to the notion of 'mise-en-scene' in films. Translated from French, it means 'putting into the scene,' and derives from the early days of play direction for the stage. It encompasses aspects of staging like setting, lighting, costume and character behavior. It is usually the impression left with the viewer when they recall watching a film. Mise-en-scene can be used to create an impression of realism, for comic exaggeration, to add terror or suspense, as well as for a whole other host of functions. the director sets the mise-en-scene for the entire production, as I would be required to do for my own personal animated piece.
Setting is both the container for on-screen events, but also can play into the narrative itself. I want my setting to be in modern times and to give an impression of realism. I want to depict an everyday, instantly relateable and recognizable scene to the viewer. props are included in the setting, and I need to decide what props my character will interact with. I am thinking that I want it to open a set of curtains, and to look in a mirror. All the props I place in the scene need to match the scene location in style and form.
This chapter delves in to the notion of 'mise-en-scene' in films. Translated from French, it means 'putting into the scene,' and derives from the early days of play direction for the stage. It encompasses aspects of staging like setting, lighting, costume and character behavior. It is usually the impression left with the viewer when they recall watching a film. Mise-en-scene can be used to create an impression of realism, for comic exaggeration, to add terror or suspense, as well as for a whole other host of functions. the director sets the mise-en-scene for the entire production, as I would be required to do for my own personal animated piece.
Setting is both the container for on-screen events, but also can play into the narrative itself. I want my setting to be in modern times and to give an impression of realism. I want to depict an everyday, instantly relateable and recognizable scene to the viewer. props are included in the setting, and I need to decide what props my character will interact with. I am thinking that I want it to open a set of curtains, and to look in a mirror. All the props I place in the scene need to match the scene location in style and form.
Friday, 11 October 2013
The Storyboard Design Course (reading)
This introductory chapter to storyboard design teaches the reader the rules and 'language' of film. I will give a brief description of useful terminology I learned here:
Screen Direction: The direction of the action on screen, important for continuity.
Cuts: Seamless flow should be aimed for by drawing as little attention to cuts as possible. A common one is a 'match out' using a common element that connects two scenes. Cross-fade is a common transition between shots. Jump-cuts, cutaway shots and inserts all add a certain mood or emphasis to a scene.
Camera Movements: Pan, zoom tilt, dolly. Focus pulls can be used to change between subjects. POV shots fall under movement category also. Dolly zooms are used to give a vertigo-like effect.
Camera Angles: Low angles suggest menace or superiority, high angles suggest inferiority or fear. Action is made more dynamic by using a tilted angle called a Canted, Dutch or Hong Kong shot. Top shot is a bird's eye view, which should be followed by a low angle shot. An extreme low angle is called a 'worm's eye view'.
Composition: Arrangement of elements in a frame.
Line Of Action: Locate the camera on one side of the line (e.g. two people conversing). Also known as the 180 degree rule.
Framing Expression: Used to specify the proportion between the frame and the subject within the frame. Can be master, full, medium, medium close-up, close-up, over the shoulder or extreme close-up.
Screen Direction: The direction of the action on screen, important for continuity.
Cuts: Seamless flow should be aimed for by drawing as little attention to cuts as possible. A common one is a 'match out' using a common element that connects two scenes. Cross-fade is a common transition between shots. Jump-cuts, cutaway shots and inserts all add a certain mood or emphasis to a scene.
Camera Movements: Pan, zoom tilt, dolly. Focus pulls can be used to change between subjects. POV shots fall under movement category also. Dolly zooms are used to give a vertigo-like effect.
Camera Angles: Low angles suggest menace or superiority, high angles suggest inferiority or fear. Action is made more dynamic by using a tilted angle called a Canted, Dutch or Hong Kong shot. Top shot is a bird's eye view, which should be followed by a low angle shot. An extreme low angle is called a 'worm's eye view'.
Composition: Arrangement of elements in a frame.
Line Of Action: Locate the camera on one side of the line (e.g. two people conversing). Also known as the 180 degree rule.
Framing Expression: Used to specify the proportion between the frame and the subject within the frame. Can be master, full, medium, medium close-up, close-up, over the shoulder or extreme close-up.
Tuesday, 8 October 2013
The Fundamentals Of Animation, Paul Wells
Key Principles and Processes
I found this reading hit a chord with me, as I studied it at a time when I was very uncertain of what direction to take in the development of my story ideas. The first thing Wells discusses in this chapter is 'finding an idea that has genuine potential for an original film.' He then goes on to offer some techniques for idea generation, which in my confused state I was grateful for. He is assisted by comments from Paul Driessen, a master animator. The following is the useful information I learned from Wells' piece.
-How one records one's brainstorming is important. Some people sketch or some make notes, but it is essential that you write down your musings.
-Use your personal background as a resource. This echoes what my tutor said in our last workshop. many creative works have an autobiographical tendency. You already have a wealth of knowledge stored up that you can take from. Recalling sense memories can be helpful.
-Iconic images of contemporary culture give us a subject to interpret and develop upon.
-Take your own fantasies of how you would like the world to be and use this as a landscape or scene for your work. Normal rules of reality do not govern here, and you have creative control.
-Try to recall key ideas from narratives that you remember or that have stuck with you, and try to develop them further.
-Practising drawing can stimulate ideas for certain visuals and scenes, as well as a mood. It also helps in recall of senses and situations.
To create better animations, Wells and Barry Purves give a few tips for when you do your designs. One is to engage with other art forms (like dance or opera) for ideas. Focus on body language and physical gesture as the tools of expression, and study them in yourself. Use silences and pauses in motion to your advantage. capture the 'essence' of your character in their design, and build them a specific vocabulary of movement.
The structure and process of storyboarding are delved into in greater detail than I had read about before. There are 3 forms distinguished: Thumbnail, used to develop sequences; Reference, which has a provisional but agreed structure; and Fixed, which is the final version used in the animatic or story reel, and is correspondent to the soundtrack. Pixar studios spend up to 18 months on the storyboarding process for each film.
I found this reading hit a chord with me, as I studied it at a time when I was very uncertain of what direction to take in the development of my story ideas. The first thing Wells discusses in this chapter is 'finding an idea that has genuine potential for an original film.' He then goes on to offer some techniques for idea generation, which in my confused state I was grateful for. He is assisted by comments from Paul Driessen, a master animator. The following is the useful information I learned from Wells' piece.
-How one records one's brainstorming is important. Some people sketch or some make notes, but it is essential that you write down your musings.
-Use your personal background as a resource. This echoes what my tutor said in our last workshop. many creative works have an autobiographical tendency. You already have a wealth of knowledge stored up that you can take from. Recalling sense memories can be helpful.
-Iconic images of contemporary culture give us a subject to interpret and develop upon.
-Take your own fantasies of how you would like the world to be and use this as a landscape or scene for your work. Normal rules of reality do not govern here, and you have creative control.
-Try to recall key ideas from narratives that you remember or that have stuck with you, and try to develop them further.
-Practising drawing can stimulate ideas for certain visuals and scenes, as well as a mood. It also helps in recall of senses and situations.
To create better animations, Wells and Barry Purves give a few tips for when you do your designs. One is to engage with other art forms (like dance or opera) for ideas. Focus on body language and physical gesture as the tools of expression, and study them in yourself. Use silences and pauses in motion to your advantage. capture the 'essence' of your character in their design, and build them a specific vocabulary of movement.
The structure and process of storyboarding are delved into in greater detail than I had read about before. There are 3 forms distinguished: Thumbnail, used to develop sequences; Reference, which has a provisional but agreed structure; and Fixed, which is the final version used in the animatic or story reel, and is correspondent to the soundtrack. Pixar studios spend up to 18 months on the storyboarding process for each film.
Animation A Guide To Animated Film Techniques, Roger Noake
Chapter 4: Staging The Action
Staging an animation is equivalent to directing a live-action. The storyboard and script are translated into action, so choices must be made about timing, framing and camera movements. Though with a comprehensive storyboard and animatic, a lot of this process will already be developed.
The reading goes on to talk about how animators in the earliest years of production adopted live-action devices of structuring and staging. A few case studies are given as examples of how regular filmic techniques were assimilated into the productions of different animation studios.
The importance of spacing is discussed in great detail. On-screen space is what the viewer can see, while off-screen is imaginary. The edges of the screen are crucial in defining the latter, with the top and bottom having a positive role to play. Frame ratios between theatre and television are discussed. Academy aspect ratio is 1:33, while wide screen varies from 1:66 to 1:85. This book was written quite a while ago, so I notice a lot of this information is outdated now.
A zoom can occur in animation as in live-action, but cannot be produced in the same way. Focal length does not change in animation, it is just an enlargement or a reduction of the field. It must also occur frame-by-frame. Pans in animation must be careful not to create a strobing effect if many vertical lines feature heavily in the scene.
As previously discussed in 'Film Art,' timing is explained as a major element in structuring of meaning. Running time, the actual length of the film, differs from the timing within the action of the film. Timing gives the film its rhythm. Exaggerated pauses are said to be used to great effect in animation, in combination with rapid movement. The dope sheet carries all the information needed for the camera operator to shoot animation during the production process. It is divided into columns, and vertically into multiple frames. Each position, length of shot and action are specified on this page, so it functions like a timeline of an entire scene.
Staging an animation is equivalent to directing a live-action. The storyboard and script are translated into action, so choices must be made about timing, framing and camera movements. Though with a comprehensive storyboard and animatic, a lot of this process will already be developed.
The reading goes on to talk about how animators in the earliest years of production adopted live-action devices of structuring and staging. A few case studies are given as examples of how regular filmic techniques were assimilated into the productions of different animation studios.
The importance of spacing is discussed in great detail. On-screen space is what the viewer can see, while off-screen is imaginary. The edges of the screen are crucial in defining the latter, with the top and bottom having a positive role to play. Frame ratios between theatre and television are discussed. Academy aspect ratio is 1:33, while wide screen varies from 1:66 to 1:85. This book was written quite a while ago, so I notice a lot of this information is outdated now.
A zoom can occur in animation as in live-action, but cannot be produced in the same way. Focal length does not change in animation, it is just an enlargement or a reduction of the field. It must also occur frame-by-frame. Pans in animation must be careful not to create a strobing effect if many vertical lines feature heavily in the scene.
As previously discussed in 'Film Art,' timing is explained as a major element in structuring of meaning. Running time, the actual length of the film, differs from the timing within the action of the film. Timing gives the film its rhythm. Exaggerated pauses are said to be used to great effect in animation, in combination with rapid movement. The dope sheet carries all the information needed for the camera operator to shoot animation during the production process. It is divided into columns, and vertically into multiple frames. Each position, length of shot and action are specified on this page, so it functions like a timeline of an entire scene.
Film Art, David Bordwell & Kristin Thompson
Chapter 10: Documentary, Experimental and Animated Films
Experimental films as explained in the book, tie in very closely to my idea of an abstract narrative or genre. Avant-garde means non-conformist to traditional narrative conventions, and are usually made by independent filmmakers. Its purpose is self-expression or experimentation, hence the name.
Abstract form is organised not chronologically or around a story, but by themes or variations such as movement or colour for example.
Associational form suggests ideas and expressive qualities by grouping images that may not have any immediate logical connection, but forces us to look for one. It is similar to literary techniques of metaphor and simile.
Animated films differ from live action in that they are produced one frame at a time, as opposed to the continuous filming of live-action. Animation lends itself well to experimental filmmaking because of the ability of the artist to distort and employ abstract form, but it also commonly presents conventional narratives.
Drawn animation is one of the oldest types, and works with two dimensional images.
Cut out animation is like a moving collage, and also in 2D.
Clay animation also called claymation, involves clay or plasticine models being manipulated between exposures.
Model or puppet animation is similar to claymation, in that is uses moveable figures that are controlled with bendable joints or wires.
Pixillation is the frame-by-frame movement or people or ordinary objects.
Computer imaging software allows many news types of animation production, included the generation of three dimensional images.
Experimental films as explained in the book, tie in very closely to my idea of an abstract narrative or genre. Avant-garde means non-conformist to traditional narrative conventions, and are usually made by independent filmmakers. Its purpose is self-expression or experimentation, hence the name.
Abstract form is organised not chronologically or around a story, but by themes or variations such as movement or colour for example.
Associational form suggests ideas and expressive qualities by grouping images that may not have any immediate logical connection, but forces us to look for one. It is similar to literary techniques of metaphor and simile.
Animated films differ from live action in that they are produced one frame at a time, as opposed to the continuous filming of live-action. Animation lends itself well to experimental filmmaking because of the ability of the artist to distort and employ abstract form, but it also commonly presents conventional narratives.
Drawn animation is one of the oldest types, and works with two dimensional images.
Cut out animation is like a moving collage, and also in 2D.
Clay animation also called claymation, involves clay or plasticine models being manipulated between exposures.
Model or puppet animation is similar to claymation, in that is uses moveable figures that are controlled with bendable joints or wires.
Pixillation is the frame-by-frame movement or people or ordinary objects.
Computer imaging software allows many news types of animation production, included the generation of three dimensional images.
Monday, 7 October 2013
Film Art, David Bordwell & Kristin Thompson
Chapter 3: Narrative As A Formal System
A narrative film is one that tells a story. It is most common to fiction films, but can appear in any basic type, even such as documentary. Audiences have anticipations of the narrative form, like assuming characters will have a role in it, and a series of incidents will play out. They also expect any conflict presented to be resolved by the end of the film. Narrative is a chain of events linked by cause and effect (causality) and occurring in a time and space, also sometimes called a 'story.' While the story encompasses all of the narrative, the plot may withhold some elements, to prompt suspense in the viewer.
Unlike in novels, film characters have a visible body (though occasionally they may just be a voice), as well as traits; which are attitudes, habits, tastes, etc. A 3D, well-developed, complex character has several varying traits.
Screen duration is the actual length of time the film takes to play, while Temporal duration is the timespan encompassed within the story of the film. Temporal frequency is when a story event is presented multiple times within a film's narrative, for example within a flashback.
Besides story and plot space within a film, it also employs screen space: the visible space within the frame.
Narrative involves change from an initial to a final situation. A film begins rather than starts - actions that take place before the plot presented to us will be stated or suggested. The exposition lays out the important events and character traits. The first quarter or so of a film is called the setup.
Like Wells in earlier readings, plot patterns are set out for the reader to understand narrative styles of films. When a character learns something that changes their motivation, it is called a change in knowledge plot pattern. The goal-oriented plot pattern is when a protagonist takes steps towards a goal. Some films take place within a specific duration of time, with a deadline. Others repeat actions through event cycles. In some films the action is confined to a single locale.
When the narrative resolves its issues it is said to end rather than stop. The climax brings the conflict development to a high point, lifting the viewer to a high degree of tension. The ending can be emotionally satisfying for the viewer or deliberately anticlimactic.
Omniscient narration is when the viewer is allowed to know, see and hear more than the characters in the film, and creates suspense. Restrictive narration is when the viewer only knows and learns as much as the characters themselves, and is typical of mystery films as it creates curiosity. This balance of knowledge between viewer and character is called a hierarchy of knowledge.
Objective narration is when we only are presented with a character's external behaviour, and do not plunge deeply into their psychological states, the opposites of which are perceptual subjectivity, when we see or hear as characters do, or mental subjectivity, when we hear their internal monologue.
Narratives may make use of a narrator, who purports to be telling the audience the story; either as a character or not. They are typical in documentaries.
A narrative film is one that tells a story. It is most common to fiction films, but can appear in any basic type, even such as documentary. Audiences have anticipations of the narrative form, like assuming characters will have a role in it, and a series of incidents will play out. They also expect any conflict presented to be resolved by the end of the film. Narrative is a chain of events linked by cause and effect (causality) and occurring in a time and space, also sometimes called a 'story.' While the story encompasses all of the narrative, the plot may withhold some elements, to prompt suspense in the viewer.
Unlike in novels, film characters have a visible body (though occasionally they may just be a voice), as well as traits; which are attitudes, habits, tastes, etc. A 3D, well-developed, complex character has several varying traits.
Screen duration is the actual length of time the film takes to play, while Temporal duration is the timespan encompassed within the story of the film. Temporal frequency is when a story event is presented multiple times within a film's narrative, for example within a flashback.
Besides story and plot space within a film, it also employs screen space: the visible space within the frame.
Narrative involves change from an initial to a final situation. A film begins rather than starts - actions that take place before the plot presented to us will be stated or suggested. The exposition lays out the important events and character traits. The first quarter or so of a film is called the setup.
Like Wells in earlier readings, plot patterns are set out for the reader to understand narrative styles of films. When a character learns something that changes their motivation, it is called a change in knowledge plot pattern. The goal-oriented plot pattern is when a protagonist takes steps towards a goal. Some films take place within a specific duration of time, with a deadline. Others repeat actions through event cycles. In some films the action is confined to a single locale.
When the narrative resolves its issues it is said to end rather than stop. The climax brings the conflict development to a high point, lifting the viewer to a high degree of tension. The ending can be emotionally satisfying for the viewer or deliberately anticlimactic.
Omniscient narration is when the viewer is allowed to know, see and hear more than the characters in the film, and creates suspense. Restrictive narration is when the viewer only knows and learns as much as the characters themselves, and is typical of mystery films as it creates curiosity. This balance of knowledge between viewer and character is called a hierarchy of knowledge.
Objective narration is when we only are presented with a character's external behaviour, and do not plunge deeply into their psychological states, the opposites of which are perceptual subjectivity, when we see or hear as characters do, or mental subjectivity, when we hear their internal monologue.
Narratives may make use of a narrator, who purports to be telling the audience the story; either as a character or not. They are typical in documentaries.
Forbidden Animation, Karl F. Cohen
I found this book very interesting and insightful, as it delivers a historical and factual account of censorship within the animation industry in a humorous way. Cohen writes the book chronologically, and it begins as early as the silent era, with the first porno-cartoon. I learnt about the censorship guidelines for films in the 1920's, which included depictions of white slavery being banned but rape and child abuse allowed! The reader is given a perspective of audience views towards cartoons at the time, including the first instances of Mickey Mouse's appearances being quite violent and vulgar. Profanities in the time of the pre-code era appear in some animations, such as 'damn' and 'hell,' which were considered controversial and radical at the time. While many animators were experimenting with new animating technologies and themes, others were trying to push the boundaries of sexual and explicit convention, such as the Fleischer Bros with their Betty Boop character.
The arrival of the production code, pushed by the PCA, affected nearly every animation studio. Characters became less risqué (see: Betty Boop), animators had to be careful to avoid offending any of their audience, although surprisingly cartoon violence was not a concern of the code. This was because the censors didn't believe it was as bad as live-action violence. Disney, on the other hand, focused more on pushing technological boundaries with their cartoons, and sought a realism in their works to visually appeal to the audience. For this reason they rarely created censorship problems.
Many American cartoons were censored by foreign boards when they were exported abroad. Examples are given of cartoons being banned in Canada, Britain and Germany. Within the States, the FBI would use the PCA to control the output of production studios. Some ways that animators would work around the censors would be to make their cartoons particularly inappropriate, so that they would cut out so much that they would end up leaving in the things the cartoonists wanted. They tried to slip in as many innuendos as possible also. Formal censorship ended in the 1960s, when the production code standards were replaced with MPAA film ratings.
The arrival of the production code, pushed by the PCA, affected nearly every animation studio. Characters became less risqué (see: Betty Boop), animators had to be careful to avoid offending any of their audience, although surprisingly cartoon violence was not a concern of the code. This was because the censors didn't believe it was as bad as live-action violence. Disney, on the other hand, focused more on pushing technological boundaries with their cartoons, and sought a realism in their works to visually appeal to the audience. For this reason they rarely created censorship problems.
Many American cartoons were censored by foreign boards when they were exported abroad. Examples are given of cartoons being banned in Canada, Britain and Germany. Within the States, the FBI would use the PCA to control the output of production studios. Some ways that animators would work around the censors would be to make their cartoons particularly inappropriate, so that they would cut out so much that they would end up leaving in the things the cartoonists wanted. They tried to slip in as many innuendos as possible also. Formal censorship ended in the 1960s, when the production code standards were replaced with MPAA film ratings.
Sunday, 6 October 2013
The Complete Animation Course, Chris Patmore
Writing The Screenplay
We are instructed to create index cards with our main story points and a few sketches to get a rough idea of the storyline. With this, we create an industry-standard screenplay, which has a specific format for animation. Each page of a script is generally regarded as a minute of screen time (with this in mind my script would be just less than 2 pages long.) For any dialogue in the film, the characters' names appear in capital letters, speech follows on a new line. I don't plan on having dialogue in my animated piece in this instance, so my script will be significantly shorter than one that does. I would still need to describe any scene changes plus camera directions. Scene setting is usually kept to a minimum of detail.
The Storyboard
The storyboard is the visual part of the plan for how the animation will look. It consists of simple sketches that show the scene and intended camera angles. A few words are incorporated alongside the images to give sound and dialogue instructions. Arrows are used to indicate direction of movement of any elements. The boxes in which one draws are usually screen aspect ratio. The quality of the drawing does not particularly matter and does not have to match that of your finished output.
Storyboard Animatics
A storyreel shows the storyboard on screen in real time. It involves capturing the storyboard images on camera or scanning them onto a computer. A voice over can be included with the video for any dialogue that the animation will contain. The main point of the reel is to test for pacing and length.
The main purpose of each of these three creations is to avoid wasting time and money at later stages by having to reshoot or recreate any scenes.
We are instructed to create index cards with our main story points and a few sketches to get a rough idea of the storyline. With this, we create an industry-standard screenplay, which has a specific format for animation. Each page of a script is generally regarded as a minute of screen time (with this in mind my script would be just less than 2 pages long.) For any dialogue in the film, the characters' names appear in capital letters, speech follows on a new line. I don't plan on having dialogue in my animated piece in this instance, so my script will be significantly shorter than one that does. I would still need to describe any scene changes plus camera directions. Scene setting is usually kept to a minimum of detail.
The Storyboard
The storyboard is the visual part of the plan for how the animation will look. It consists of simple sketches that show the scene and intended camera angles. A few words are incorporated alongside the images to give sound and dialogue instructions. Arrows are used to indicate direction of movement of any elements. The boxes in which one draws are usually screen aspect ratio. The quality of the drawing does not particularly matter and does not have to match that of your finished output.
Storyboard Animatics
A storyreel shows the storyboard on screen in real time. It involves capturing the storyboard images on camera or scanning them onto a computer. A voice over can be included with the video for any dialogue that the animation will contain. The main point of the reel is to test for pacing and length.
The main purpose of each of these three creations is to avoid wasting time and money at later stages by having to reshoot or recreate any scenes.
Animation: Genre and Authorship, Paul Wells
Chapter 4: Genre in Animation
Wells argues that recently, new 'sub-genres' have been added to the list of already existing and acknowledged genres, because there have become so many aspects of crossover and combination between them that they are becoming hard to clearly define.
He lists new plot structures/types which can be identified in self-evident genres like horror, romance and comedy. These are determined by the structure of the story rather than the mise-en-scéne or typical themes that distinguish genre./
Maturation plot is a coming-of age, right of passage story
Redemption plot contains the transition of a protagonist from bad to good
Punitive plot the main, good protagonist behaves badly and is punished
Testing plot story of willpower vs. temptation
Education plot protagonist develops a positive outlook of the world
Disillusionment plot protagonist becomes disenchanted with the world
While giving examples of genre as it usually found in live action films, Wells also makes a case for animated films having their own generic terms and conditions that will define their genre.
He finally lists seven genres or 'deep structures' of animated film...
Formal: Animation that is determined by a conditional premise to its narrative or thematic concerns, in order to test and extend the aesthetic and technical parameters of expression distinctive to the animated form.
Deconstructive: Animated film that self-consciously deconstructs the artificial tenets of its making for critical or comic effect.
Political: Animation which makes a moral, ethical or political statement.
Abstract: Animation that explicitly explores new, experimental techniques and approaches to facilitate non-linear work, that resists traditional conventions of interpretation.
Re-Narration: Animation which reconfigures existing narrative in representations of time, space and perspective.
Paradigmatic: (personally, I don't understand paradigmatic..must look back into it!)
Primal: Animation which depicts, defines and explores a specific emotion, feeling or state of consciousness.
Wells argues that recently, new 'sub-genres' have been added to the list of already existing and acknowledged genres, because there have become so many aspects of crossover and combination between them that they are becoming hard to clearly define.
He lists new plot structures/types which can be identified in self-evident genres like horror, romance and comedy. These are determined by the structure of the story rather than the mise-en-scéne or typical themes that distinguish genre./
Maturation plot is a coming-of age, right of passage story
Redemption plot contains the transition of a protagonist from bad to good
Punitive plot the main, good protagonist behaves badly and is punished
Testing plot story of willpower vs. temptation
Education plot protagonist develops a positive outlook of the world
Disillusionment plot protagonist becomes disenchanted with the world
While giving examples of genre as it usually found in live action films, Wells also makes a case for animated films having their own generic terms and conditions that will define their genre.
"Animation has inherent spectacle in the freedom of its graphic vocabulary, but it is a spectacle that has naturalised into its vocabulary in a way that enables the form to infiltrate generic conventions almost unnoticed."Richard Taylor attempts to place animated films into six distinct categories: dramatic, lyrical, didactic, comic, commercial, children's. Each of these function as genres in live action movies also. Wells makes an argument for constructing genres which are particular to animation. He gives 'fairytale' as an example, and cites works by Disney and the Fleischer Bros to make his case. He says 'literary adaptation' may also be included as an explicit animated genre also.
He finally lists seven genres or 'deep structures' of animated film...
Formal: Animation that is determined by a conditional premise to its narrative or thematic concerns, in order to test and extend the aesthetic and technical parameters of expression distinctive to the animated form.
Deconstructive: Animated film that self-consciously deconstructs the artificial tenets of its making for critical or comic effect.
Political: Animation which makes a moral, ethical or political statement.
Abstract: Animation that explicitly explores new, experimental techniques and approaches to facilitate non-linear work, that resists traditional conventions of interpretation.
Re-Narration: Animation which reconfigures existing narrative in representations of time, space and perspective.
Paradigmatic: (personally, I don't understand paradigmatic..must look back into it!)
Primal: Animation which depicts, defines and explores a specific emotion, feeling or state of consciousness.
Wednesday, 2 October 2013
Understanding Animation, Paul Wells
Chapter 3: Once Upon A Time; Narrative Strategies
This chapter introduces the idea that there are two schools of thought about narration in animation: one side believes that each animation, no matter how short, must have a story with a sequence of events taking place over a period of time, informed by a chain of causes and effects. Some others think that animation possesses the capacity to create new modes of storytelling without utilising a linear plot but instead using symbolic or metaphoric effects.
The chapter goes of to define terms associated with the narrative process in relation to animation.
Metamorphosis is the ability of an image to change into another completely different image. It allows the animator to connect apparently unrelated images. It combines horror and humour, dream and reality, certainty and speculation. It is used to great effect in fairy tales.
Condensation using processes such as elliptical cut and comic elision, it is animation's ability to compress a lot of content into a short period of time. It delivers a direct, sped-up movement between the narrative premise and its outcome.
Synecdoche where depiction of part of a figure or object represents its whole.
Symbolism consciously or unconsciously, it is when something is used as part of the image vocabulary to suggest a meaning. It is the way in which an audience interprets elements of the animation and understands the film. A symbol invests an object with meaning.
Metaphor is similar to symbolism, in that it invites interpretation, yet in its own specific case insists upon openness. Metaphors make the literal interpretation of images an ambiguous affair, as they intend that the audience has an engagement with the symbolic over and above the actual.
Fabrication using the materials one works with to add to the story's narration as an element of its own. Inanimate objects may possess kinetic energy.
Associative Relations when suggestion or allusion is used to bring together seemingly unconnected images.
Acting and Performance in an animated film, is not the character but instead the relationship between the animator and the figure. The animator must decide on the character's range of movement, modes of expression and behaviour. The character is limited by the conditions and possibilities of the medium it is created in. They were referred to in the early days of animation as 'performers' rather than 'actors,' as they were controlled to perform rather like a puppet.
Choreography the dynamics of movement themselves can be seen as a narrative principle. Choreography in animation is like 'staging' for theatrics. It is similar to dance in that it creates narrative through the ramifications of movement. Unlike dance choreography, animation has a liberation from the constraints of space and weight and so is open to manipulation. Actions are subject to 'action moods,' which act as a catalyst for very distinct types of movement from the figures.
Penetration is the ability of animation to evoke the internal space and portray the invisible, or the 'soul,' if you will. It is used to reveal conditions that would otherwise be hidden from the viewer.
Sound conditions an audience's response to a film. Sound can be composed of a voiceover, monologue, dialogue, instrumental or lyrical music and sound effects. The placement of music within a scene can determine its mood and also help to time a sequence. Music inspires feelings, and so can be said to emotionally narrate the storyline.
This chapter introduces the idea that there are two schools of thought about narration in animation: one side believes that each animation, no matter how short, must have a story with a sequence of events taking place over a period of time, informed by a chain of causes and effects. Some others think that animation possesses the capacity to create new modes of storytelling without utilising a linear plot but instead using symbolic or metaphoric effects.
The chapter goes of to define terms associated with the narrative process in relation to animation.
Metamorphosis is the ability of an image to change into another completely different image. It allows the animator to connect apparently unrelated images. It combines horror and humour, dream and reality, certainty and speculation. It is used to great effect in fairy tales.
Condensation using processes such as elliptical cut and comic elision, it is animation's ability to compress a lot of content into a short period of time. It delivers a direct, sped-up movement between the narrative premise and its outcome.
Synecdoche where depiction of part of a figure or object represents its whole.
Symbolism consciously or unconsciously, it is when something is used as part of the image vocabulary to suggest a meaning. It is the way in which an audience interprets elements of the animation and understands the film. A symbol invests an object with meaning.
Metaphor is similar to symbolism, in that it invites interpretation, yet in its own specific case insists upon openness. Metaphors make the literal interpretation of images an ambiguous affair, as they intend that the audience has an engagement with the symbolic over and above the actual.
Fabrication using the materials one works with to add to the story's narration as an element of its own. Inanimate objects may possess kinetic energy.
Associative Relations when suggestion or allusion is used to bring together seemingly unconnected images.
Acting and Performance in an animated film, is not the character but instead the relationship between the animator and the figure. The animator must decide on the character's range of movement, modes of expression and behaviour. The character is limited by the conditions and possibilities of the medium it is created in. They were referred to in the early days of animation as 'performers' rather than 'actors,' as they were controlled to perform rather like a puppet.
Choreography the dynamics of movement themselves can be seen as a narrative principle. Choreography in animation is like 'staging' for theatrics. It is similar to dance in that it creates narrative through the ramifications of movement. Unlike dance choreography, animation has a liberation from the constraints of space and weight and so is open to manipulation. Actions are subject to 'action moods,' which act as a catalyst for very distinct types of movement from the figures.
Penetration is the ability of animation to evoke the internal space and portray the invisible, or the 'soul,' if you will. It is used to reveal conditions that would otherwise be hidden from the viewer.
Sound conditions an audience's response to a film. Sound can be composed of a voiceover, monologue, dialogue, instrumental or lyrical music and sound effects. The placement of music within a scene can determine its mood and also help to time a sequence. Music inspires feelings, and so can be said to emotionally narrate the storyline.
Monday, 30 September 2013
Before Mickey: The Animated Film 1898-1928 - Donald Crafton
Conclusion
Because this book contained much of what I felt I had already been given an overview of both in the core readings of the module and within class itself, I decided to skip the bulk and move straight to the conclusion. Crafton describes the development of the animated form as being 'haphazard and serpentine,' yet says while confusing to make sense of, one can distinguish an overall pattern of a small number codes being defined throughout its first 30 years of growth. He emphasises the importance of auteurship and the self figuration of the artist through his productions. he suggests, giving example to studies of African tribes, that anthropomorphic animals became prominent in character depiction because it functioned as 'self-translation into an alien universe.' Animals are used as vehicles with which one can easily and relateably project one's self.
Animation had huge surrealist potential, realised by European intellectuals and forward-thinkers. It had a transportative function that was easily attainable for the audience, which is an idea which paved the way for the creation of personable animal character stars in later years, like Mickey Mouse.
Because this book contained much of what I felt I had already been given an overview of both in the core readings of the module and within class itself, I decided to skip the bulk and move straight to the conclusion. Crafton describes the development of the animated form as being 'haphazard and serpentine,' yet says while confusing to make sense of, one can distinguish an overall pattern of a small number codes being defined throughout its first 30 years of growth. He emphasises the importance of auteurship and the self figuration of the artist through his productions. he suggests, giving example to studies of African tribes, that anthropomorphic animals became prominent in character depiction because it functioned as 'self-translation into an alien universe.' Animals are used as vehicles with which one can easily and relateably project one's self.
Animation had huge surrealist potential, realised by European intellectuals and forward-thinkers. It had a transportative function that was easily attainable for the audience, which is an idea which paved the way for the creation of personable animal character stars in later years, like Mickey Mouse.
Understanding Animation, Paul Wells
Chapter 1: Thinking About Animated Films
To 'animate' means to 'give life to.' This is the first factoid we are presented with in Wells' introduction to the world of animation. An animated film is one that attempts to visually give the illusion of movement. The definitions given by various animators from different schools of thought are offered to give the reader the most whole and encompassing description of the art form.
As with other readings from this week, the author delves into the depths of the history of animation, listing the evolution of animation techniques and giving well-known examples along the way. I will not go in to detail about it here, as I already have about the previous reading and in class discussions.
A case study in this chapter that grabbed my attention was that of 'Disney and the Realist Principle.' In the early half of the 20th century, while European animation artists were looking to the art form as a means of expression, Disney Productions was established in the United States to develop it as an industry. Walt Disney, the founder, wanted to fight for commercial stability and so sought to grow the animation production technologies to achieve this. He prioritised the idea of mechanism, both in form and content of his productions. Disney introduced synchronised sound, multi-plane images, feature lengths and Technicolor to cartoons.
Disney developed believable motion in his characters, and gave them plausible motivation for their actions. He had a great realist ideal he wished all his films would achieve. Some may see his profit-driven desire innovate as undermining the essence and purpose of animation itself. They fear that 'Disney' has become synonymous with 'animation,' leading some consumers to receive and understand it in a limited way.
Personally, I have no issue against Walt Disney Productions or the way in which they chose to develop their company. I prefer realistic portrayals of any subject in art as opposed to abstract or surreal ones: I have always felt more in admiration of the skill of the old masters of painting who tried to create photo realistic artworks, than those of the impressionists and post-impressionists who embrace featuring the media in which they worked as as important as the subject matter itself. The author makes a case for the 'problem' of realism, which I think is slightly a redundant argument as I believe he is concentrating too heavily on the terminology of the word 'realism.' He argues that animation can never be truly be realistic, as anything created is a construct of the author and will always contain some type of authorship or subjectivity. He dismisses too quickly the fact that we are coded to read a particular familiar 'reality' in a certain way. Even though this might not be 'reality' in the truest sense of the word, it is still conventionally what society knows and wants to perceive as such. I would make a case that this acceptance of one conventional form of reality transcends the attacks from his argument of rhetoric.
To 'animate' means to 'give life to.' This is the first factoid we are presented with in Wells' introduction to the world of animation. An animated film is one that attempts to visually give the illusion of movement. The definitions given by various animators from different schools of thought are offered to give the reader the most whole and encompassing description of the art form.
As with other readings from this week, the author delves into the depths of the history of animation, listing the evolution of animation techniques and giving well-known examples along the way. I will not go in to detail about it here, as I already have about the previous reading and in class discussions.
A case study in this chapter that grabbed my attention was that of 'Disney and the Realist Principle.' In the early half of the 20th century, while European animation artists were looking to the art form as a means of expression, Disney Productions was established in the United States to develop it as an industry. Walt Disney, the founder, wanted to fight for commercial stability and so sought to grow the animation production technologies to achieve this. He prioritised the idea of mechanism, both in form and content of his productions. Disney introduced synchronised sound, multi-plane images, feature lengths and Technicolor to cartoons.
Disney developed believable motion in his characters, and gave them plausible motivation for their actions. He had a great realist ideal he wished all his films would achieve. Some may see his profit-driven desire innovate as undermining the essence and purpose of animation itself. They fear that 'Disney' has become synonymous with 'animation,' leading some consumers to receive and understand it in a limited way.
Personally, I have no issue against Walt Disney Productions or the way in which they chose to develop their company. I prefer realistic portrayals of any subject in art as opposed to abstract or surreal ones: I have always felt more in admiration of the skill of the old masters of painting who tried to create photo realistic artworks, than those of the impressionists and post-impressionists who embrace featuring the media in which they worked as as important as the subject matter itself. The author makes a case for the 'problem' of realism, which I think is slightly a redundant argument as I believe he is concentrating too heavily on the terminology of the word 'realism.' He argues that animation can never be truly be realistic, as anything created is a construct of the author and will always contain some type of authorship or subjectivity. He dismisses too quickly the fact that we are coded to read a particular familiar 'reality' in a certain way. Even though this might not be 'reality' in the truest sense of the word, it is still conventionally what society knows and wants to perceive as such. I would make a case that this acceptance of one conventional form of reality transcends the attacks from his argument of rhetoric.
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