‘his or her ideas must filter through many minds and many pairs of hands’ page 11
‘the turnkey system is no longer required; the animator can carry out all the stages on the computer’ page 11-the contemporary animator
an animated film, unlike a live-action documentary, cannot be shot off the cuff. every sttep must be preplanned, nothing can be left to chance. Page 13
‘most beginners start with a particular stype but find that this has to be adapted during production according to the technival limitations of the work’ page 13
we have seen that there are different types of production organisations, : the unit for a large films, with a minimum of 50 personall; the small service unit with 6 – 15 personall servicing commercial commissions and the individual unit with one animator working on experimental priductions alone or with a few helpers. The newcomer is the computer animator, either with his or her personal equipttment at home or as paart of a video studio;s service unit with an integrated workstation. Page 14
should nimation be flat or should it be a puppet? Page 14
first if your idea is beyoung the capability of the computer graphics system do not touch it. Second if you can carry out a scene better manually do not use the cimuter. -15
the positioning of objects and their size play a part, as do the characyers behavior, mood and interrelationships, which influence their speed of actions on the screen. – page 17
no comedy can succeed without exaggeration of time, especially the amusing effect of speedy action. –page 17
‘yui norstein (soyuzmultfilm, Moscow) have proved tat highly artistic and complex animation can be achieved with cutouts and collage provided one has the technical skill with the taent and ideas to back it up. – page 18
Saul Bass?
‘his charractes are paper cutout figures joined with wire thread which llows each section of the body to be moved frame by frame’ 19
lotte reiniger the adventures of prince achmend 1926- from the barbican –watch me move exhibition.
Norstein is considered as a contemporary poet who has found a new way of conveying his ideas.-19
Chuck jones –symbolises the sounds of musical instruments page 66
Mechanical development
Exploring the impossible
Art in movement
Broadening the animation language
Computer graphics –page 42
Find the unity between the visual and the aura sense, between mobile graphics and the rhythmical development of musical sound.
Hans richter and Oscar fischinger in berlin 1930 –page 61
Len Lye and norman mclaren. Disney with fantasia ? maybe…
Harmonization of sound and vision
Museical harmonization can greatly help traditional animators with their choreography of action. Chuck jones utilized such relationships for his productions, from bugs bunny to speedy gonzalez. Here visual elements are linked with musical instruments: bassoon ( a laughing onkey), a harp ( a nightingale), percussion (Columbus money), drum (elephant). – page 63
Out of the two options of recording music before or after the production, animators prefer pre-recorded music in order to time more precisely the action based on the music- 64 (unlike McLaren, who is experimental, draws sound)- page 64
Today with three dimentsional recordings, one is able to create a range of musical sounds never heard before. This has already been achieved by Richard Arnell and David Hewson in animation with the soundtrack of Dilema (1981), Toulouse-lautrex (1984) and light of the world (1989)-64
Synchronization between actipn and music is a constant problem. In these four block diagrams the upper space represents the action, the lower the music. Each block is 2 seconds long.-70
No comments:
Post a Comment