This week is learning about the half body walk cycle, which is closely linked to the small ball bounce work. The walk cycle can express the emotions of the character.
A normal walk is a cycle of 24 or 25 frames. It is important that one foot does not slip after landing on the ground, which greatly affects the character’s sense of weight.
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Research Activity 1
The first shot is a door, and there is a nameplate on the door, which says: elementary chemistry grade 6 3 / 4 Miss muskrat’s class. It shows that it is a laboratory.
The second scene is in the laboratory. Two foxes are operating on the test bench. There are many test tubes on the table, which contain liquids of various colours. Behind them, there is also a bar with multiple chemical molecular bond models. And reagents, and even an ecological tank. The picture is full of laboratory elements.
The character A (first male fox) was wearing a sweater and a cloak. Character B (a female fox) is wearing a suspender skirt, character C (second male fox) is wearing a short-sleeved shirt, and character D (a beaver) is wearing a short-sleeved shirt. What is more, They all wear goggles. It is funny that the female fox painted her eyebrows and eyeliner, and she had two pigtails.
The character A fox is doing the experiment, while his partner, character B, constantly stares at another fox. When the camera moves to the other laboratory, we can see that character C also stares at the female fox shows the spark between them. We can see that the mole’s movements are very clumsy in experimenting. In contrast, character C is much more reliable when using fire extinguishers to deal with sundries.
This scene is mainly indoor. I think it is not easy to light the indoor scene in 3D animation. I believe there are some problems with the lighting of this scene. In the first test-bed, we can infer from the shadow on character A’s clothes that the primary light is warm and on the roof behind them. But the strange thing is that the female fox’s skirt is very bright, and there is a shadow above her arm, which gives people the feeling of a light source under the table. Obviously, even if the director wants to express the light of the flame on the test bench, it is wrong because the brightness should not be so bright, and secondly, the direction is also wrong. The lighting of the second scene is much more comfortable.
The proportion of the two foxes in the picture is the same, showing that the two foxes are equal. So do the other two characters.
Medium shot, head up angle. Due to the wide range of shooting, two characters can be shown in the same picture, which explains the relationship between the characters and shows a specific environment and atmosphere—often used to narrate a plot.
Research Activity 3
Depending on the style of the bed and slippers, the scene may take place in the hotel. Their hair and clothes style indicates that the character is middle-aged or elderly. They just lay half in bed, staring sadly at the ceiling as if thinking about something heavy. The light is dim, and the colour is warm. The two characters are in the middle of the picture, and the camera is taken from top to bottom so that the audience can better capture the characters’ expressions. The whole picture forms an asymmetrical structure, which can reflect the different psychological activities of the two characters.
Research Activity 3
The relationship between the hostess and the housekeeper. On the right side of the scene is the housekeeper, on the left is the hostess.
The relationship between them can be seen from their clothes, dialogue and expression. The hostess was dressed luxuriantly, the housekeeper was dressed seriously, the hostess looked embarrassed, and the housekeeper looked serious.
The contradiction between them can be seen from the light and dark relationship of the picture. The hostess dressed in a light dress forms a bright area in the picture. In contrast, the housekeeper wears dark clothes, which shows that Mrs Dancers looks quite serious, and Rebecca feels scared and uncomfortable.
Research Activity 4
In the middle of this picture is a little girl with a red scarf around her head. She holds the scarf in one hand and her bag in the other. She looks flustered and seems to be avoiding something. The headscarves, robes and beards of passers-by indicate that the location should be on the street in the Middle East. The colour of the whole picture is warm and unsaturated, which is also a feature of the site. The light comes from the natural light on the upper left.
Medium shot.
Eye-level camera
In the middle of the camera
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Firstly, I found a piano piece, because I wanted to make a piece that resembled a ball dancing, which was very challenging because its tail needed to swing to the music to make it look soft, I spent a lot of time adjusting the swing of the tail. Fortunately, the end result looks pretty good!
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Nowadays, we are surrounded by information. Audiences are easily affected by all kinds of information due to the readability and intuition of the media itself. This means that these information channels have gradually become a very effective means of political persuasion for politicians. In fact, the influence of politics on everything from advertising to movies to games is almost everywhere. In addition, it is often difficult for people to realize this because the content contained in these media is very obscure and easy to accept.
Therefore, some creators will hide their political goals in the story. A good example is that in Transformers, there are scenes of the close friendship between the U.S. military and local children in the Middle East, as well as scenes of the U.S. military fighting side-by-side with Arab militias and helping villagers evacuate with camels. Military films such as the Battle of Midway, Tora! Tora! Tora! Saving Private Ryan and TOP FLY has been quite successful in beautifying the image of the U.S. military. Secondly, certain directors will compromise for some political correctness. For example, there seems to be a “hidden rule” in the American film industry: it stipulates that every film must have a black and decent character caused many weird phenomena: in the film Thor: Ragnarok, it is clearly a Nordic myth, but there is a black female warrior god; There are black nobles in Beauty and the Beast.
Of course, it does not mean that adding some political to the media must be a bad thing. When a director or screenwriter narrates a story, he will inevitably have some personal political positions. It can also make the audience more empathetic, resonate with the plot or role, and be more readily accepted. All in all, however, the modify is the key. As viewers, we need to keep a clear mind, and it is essential to have critical thinking.
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This week I have been learning about Solid drawing and posing, I first found some poses online that I liked and then analysed the structure of these figures, I focused more on the weight of the waist, and the position of the legs.
I found a piano piece and I wanted to make a piece that resembled a ball dancing, which was very challenging because its tail needed to swing to the music to make it look soft, I spent a lot of time adjusting the swing of the tail and the end result looks pretty good!
Here are the hyperlinks to both blogs
This week I have been learning about Solid drawing and posing, I first found some poses online that I liked and then analysed the structure of these figures, I focused more on the weight of the waist, and the position of the legs.
Selected reference images:
Final works:
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This week I revisited the 12 Laws of Animation and gained a deeper understanding of them.
In addition to this, I also practised bouncing a ball, which I know is important because it is a fundamental part of the animation. Just like when you start to learn to draw, the teacher must first teach the students to practise drawing geometric plaster, and only once they have a certain understanding of geometry will they be able to learn to draw portraits.
Here are the hyperlinks to both blogs
Question 1
Paul Wells suggests that ‘Animation as a form has predominantly been understood as a ‘cartoon’ medium, and largely defined by the presence, and performance of Disney Animation from 1928 to the present day. lt may be argued, therefore, that all other forms of animation may be addressed through the ways they relate to or differ from the Disney model. Many animation studios across the world have sought to imitate Disney aesthetically, industrially, technologically, and commercially, while others have resisted this approach, viewing it as something which may misrepresent their own engagement with the medium’ (2002,2).
Can you think of any animation studios/forms of animation/animators who have imitated or been influenced by Disney’s hyperreal animation aesthetic in their editing? How do they do this? Include animation in its myriad forms in your consideration of your answer.
Can you think of any animation studios/forms of animation/animators who resist this aesthetic? How do they do this? Include animation in its myriad forms in your consideration of your answer.
As an animation giant, Disney has set a benchmark in aesthetics, industry, technology and business. That is Disney’s hyperreal animation aesthetic. Beginning with Snow White, Disney’s success has left many animation companies worldwide scrambling to emulate it. This gradually led to the formation of two genres: one that followed in Disney’s footsteps and the other that resisted. What I’m going to talk about is these two kinds of companies.
Firstly, many studios have been influenced by Disney’s hyperreal animation aesthetic, whether editing and the character design and art style. For example, China’s COLOROOM Animation Studio and the United States Lycra Studios and like. From their works, I can always feel the shadow of Disney animation, more or less. To be sure, Disney’s model has been a success after decades of development. The animation created by its series of modes and manifestations is not only the most attractive but also the fastest and most effective way to create animation IP, which means that more viewers will pay for it. Take Nezha: Birth of the Demon Child, which was produced by COLOROOM Animation Studio in 19 years, as an example. In this film, I see many imitations of Disney’s commercialization. For example, Ao Bing is the tall, thin and steady character in character design, while Nezha is short and lively. It’s very similar to Nick and Judy in the Zootropolis. In narrative structure, nonlinear narrative, Exposition-Rising action-Climax-Falling action-Resolution. It’s very similar to Big Hero 6. we have to admit that these kinds of plots design are terrific and exciting. Step by step can grasp the audience’s eyes and mind in the cinema.
But is animation the only way to do that? Fortunately, some companies that imitate the Disney model will only distort their contact with the animation media. They’ll still be bold enough to try something completely different from Disney’s aesthetic. Take the Genius Carnival, for example. The film is a film co-produced by seven Japanese directors and consists of seven separate short films. The movie in the form and content of closer to the artistic animation and experimental animation, I can hardly see in this film there is a Disney shadow, but also I was impressed. Directors seem to be competing to push the boundaries of characters, actions, images and stories. Genius parties are fun, beautiful and sometimes thought-provoking. However, the consequence of opposing Disney aesthetics is that watching in the cinema is more challenging than watching on DVD because the use of ‘the fast forward button’ has proved to be the key to enjoying the film.
Another interesting example is The Wind and Rain Porch Bridge, a stop-motion Animation work produced by NiceBoat Animation and Weichen stop-motion animation studio. This film does not conform to Disney’s Surrealist aesthetics too, which makes it difficult for the audience who have not finished watching it to understand what this animation really expresses. It means that its audience is a small group of people, not the public. However, these do not affect that it is an excellent animation: silent film style, black-and-white colour, cold, rough and crazy tone. In just 20 minutes, each frame can be called a work of art. It not only focuses on the detailed details such as chest ups and downs and hair fluttering following the wind but also the fierce fighting scene.
To sum up, Disney’s aesthetics are commercially successful, but animation, as a comprehensive art, should not be limited to these models. Worldwide animation studios should be creative and innovative, thinking out of these boxes, even if it will be difficult initially. Only by sticking to Disney’s surrealist model will our animated future be letting a hundred flowers blossom.
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