Research Visual Presentation
Weekly assignments links:
Week01_timeline & Understanding of the history of Film, Animation and VFX
Week02_Answer to Question 1(About Disney Hyperreal animation aesthetic)
Week04_Analysis of Mise-en-Scène
Week05_Film story & Characters Breakdown & Timeline
Week06_Character & Story development breakdown
Week07_Research Areas: Light and Shadow in Contemporary Animation
Research Areas:
The Application of Continuously Changing Lighting in 3D Animation
Keywords:
Light and Shadow, 3D Animation, Successive Contrast, Changing lights
Outline Structure:
Introduction
Introduction to the background of the topic
The importance of light for 3D animation
the idea of writing the article and the target audience
Critical Review
Critically comment on existing research. Present my own views and summarise the findings
Main Body
Application of lighting changes to story narration
(1) Use the uniformity or difference of the front or back of the light to set the visual style.
(2) Rendering a unique ambience
(3) Setting the scene for the story
The role of light and shadow changes in shaping the texture of props and the image of characters
(1) Strengthen the character’s emotional expression
(2) Revealing the character’s attributes of good and evil
(3) Guiding the eye to highpoint the main characters
Conclusion
Summary of findings and conclusions and recommendations to the reader
Reference
Does the topic motivate you to research and discover?
I chose this topic because I had already studied the use of lighting in animation before. However, I think I have not researched it enough and many ideas have not been explained in enough detail, so I would like to continue to improve this topic.
How might the research impact present or future theoretical and practical study? Are there potentials to apply new learning?
It is clear that light and shadow is highly expressive artistic language. A director can express a lot of meaning through light alone. With the continuous development of rendering techniques, contemporary animation creators are also paying more and more attention to the use of light. Therefore I believe that an in-depth study of light is necessary and that there is great potential for its use in the future.
Audience: who and what is the report for?
My target audience is students and animation creators, and through my research, I hope to enable animators to become more aware of the use of changing light to enrich images in the process of creating animation.
Purpose: what do you want them to know?
By summarizing the application of lighting in outstanding animated films, the creators will know that lighting is not arbitrary in the film, but purposeful, and hopefully they will also set lighting purposefully in their future creations.
introduction:
3D animation is to express the three-dimensional space in the two-dimensional picture. I think that light and shadow is the soul of 3D animation. It can create a specific environmental atmosphere and make this kind of atmosphere appeal to the screen to produce different scene feelings. Firstly, light and shadow generally control the effect of scene changing, highlighting the theme and foil atmosphere. Secondly, light, objects and animation can produce a good 3D effect; light and shadow performance can help to express specific emotions, guide the audience’s eyes and emphasize the content that the director wants to present to the audience. For the more, light and shadow create a certain atmosphere and metaphor for the plotted trend.
Structure:
(1) Create a specific environment atmosphere
(2) warm-up for the narration of the story
(3) Describe the time, environment and space of the event
(1) stress the emotional of the role
(2) Reveal the good and evil qualities of the characters
(3) Highlight the key roles
(1) Determine the location of the main light
(2) Flexible use of auxiliary light to show the difference between the background and the main object; rich the screen and create an impression of space and administrative levels.
(3) Clever lighting design can make the finishing point in 3D animation.
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1. Green Book
In 1962 New York City, Tony, a white Italian living at the bottom of society, lost his job because of the operation of nightclubs. When he was worried about money, he received a phone call from Don Shirley, a famous black pianist in New York, needed to go to the south for a tour and hire a driver.
Nevertheless, this is not an ordinary tour. In 1962 the social was not friendly to blacks. As a black musician, Shirley needed someone who could “settle the trouble” to help him complete this journey.
Shirley’s record company gave Tony a green book, a guidebook for African American tourists to find motels, restaurants, and gas stations that can serve them in the south. In this way, they took a green book and began the journey that was destined to be full of twists and turns.
Of course, their journey was not harmonious because Tony felt uncomfortable being asked to behave more delicately, and the arrogant Shirley was dissatisfied with Tony’s habits. Both live in their own world, defending each other
With the progress of the tour, the first performance was very successful. Shirley’s exquisite piano skills not only conquered the audience but also conquered Tony, who was once despised. He did not expect that this pretentious black man had such a level.
Throughout the journey, the two people kept arguing because of all kinds of trivial things, but they were also constantly compromising. During this period, Shirley helped Tony write to his wife. Tony also encouraged Shirley to get in touch with his brother. Their relationship has also changed during this period: Even if Tony does not like blacks any more, he cannot argue about the boss-employee relationship between him and Shirley. Gradually, he began to recognize the black friend around him and began to protect Shirley. Tony was willing to accept the help of black Shirley and his ideas.
The climax of the play is Shirley’s rights protection. The police stopped Shirley and Tony on a rainy night, unreasonably asked them to get out of the car for inspection and spoke racist words. Tony, who was irritable and straightforward, knocked down the police with a punch, and the angry police detained them. Shirley rationally asked to protect his rights in the cell and asked why he was detained, but the police said: ‘it is because of your damn skin colour’.
This sentence, like a fuse, made the injustice and discrimination he had suffered all the way break out instantly. Tang strongly demanded to call his lawyer and use this opportunity to contact Attorney General Robert Kennedy, who put pressure on the governor and subsequent police officials to release them.
Soon the last performance came. As expected, the unfair treatment came again. Shirley is refused entry into the whites-only dining room of the country club where he has been hired to perform. Tony threatens the owner, and Shirley refuses to play since they refuse to serve him in the room with his audience.
Tony and Shirley left the venue and came to the orange bird bar dedicated to black people. Shirley was invited to perform an extraordinary piano performance and, as expected, won full applause. He played music that was easier to accept at the bottom. He was delighted and relaxed. Maybe it was himself at this time. As Shirley revealed his wealth when buying wine, he was stared at by two little gangsters. They hid behind the car. Tony found out, took out his pistol, and fired two shots into the sky to scare the gangsters away.
Finally, Tony and Shirley return north and try to go home before Christmas Eve. Tony invited Shirley to dinner with his family. There, Tony’s extended family greeted him with unexpected enthusiasm.
2. The Shawshank Redemption
In 1947, banker Andy Dufresne (Tim Robbins) was accused of shooting his wife and lover. Andy was sentenced to life imprisonment, which means he will spend the rest of his life in Shawshank prison.
For a long time in prison, Andy didn’t communicate with anyone. While everyone complained, he walked leisurely in the yard, just like in the park. A month later, Ellis Red Redding (Morgan Freeman) is an inmate and prison contraband smuggler serving a life sentence. Red procures a rock hammer and a large poster of Rita Hayworth for Andy.
One day, Andy overheard the prison officer talking about paying taxes. Andy said he had a way to legally exempt the prison officer from this large amount of tax. In exchange, he won two bottles of Tiger beer for each of a dozen prisoner friends. Red said he felt free for the first time in years.
As Andy was proficient in the knowledge of the financial system, he soon got rid of the heavy manual labour and the harassment of other abnormal prisoners in prison. Soon, Andy, well-known, began to deal with tax issues for more and more prison guards and even his children’s entrance to the school. At the same time, Andy has gradually become an important tool for the shank warden to launder money.
The arrival of a young prisoner broke Andy’s quiet prison life: the prisoner had heard Andy’s case when serving his sentence in another prison before. He knew who the real murderer was. However, when Andy asked the warden to reopen the case, he was rejected and severely punished by two months of solitary confinement. In order to prevent Andy’s release, the warden designed to kill that young prisoner.
Facing the cruel reality, Andy becomes very depressed. One day, he said to Rhett, “if one day you can get parole, you must go somewhere to fulfil a wish for me. That’s where I dated my wife for the first time. Dig out a box under a big oak tree there. Then you’ll know what it is.” That night, with wind and rain and thunder, Andy, whom his soul has redeemed, escaped from prison successfully.
It turned out that Andy had been digging a hole with that little pickaxe every day for twenty years and then covered the hole with a poster. After Andy got out of prison, he took away some of the black money saved by the warden and denounced the truth of the warden’s corruption and bribery. The warden saw a Bible left by Andy in the safe where he kept his small account book. The first page said, “the way to be saved is in it”. In addition, there was a hollowed-out part in the Bible to hide the pickaxe for digging a hole.
After 40 years in prison, Red finally got parole. Remembering his promise to Andy, he visits Buxton and finds a cache containing money and a letter asking him to come to Zihuatanejo. The two old friends finally met again on the blue Pacific coast.
similarities
Both movies flow Hearo’s Journey. The protagonists of the two stories begin with an embarrassing life and encounter some things. The protagonists overcome difficulties and finally meet a better life
The film I would like to talk about is iron man
Iron Man is a 2008 American superhero film based on the Marvel Comics character of the same name. Produced by Marvel Studios and distributed by Paramount Pictures, it is the first film in the Marvel Cinematic Universe (MCU). This film was directed by Jon Favreau and was released in the U.S. on May 2, 2008.
The story of the film has two parts. The first part is that Tony Stark was attacked and kidnapped by terrorists while testing his latest research results and then fled. The second part is that Obadiah Stan stole Stark’s research results and made war weapons. After stark fought with it, he improved the function of armour, incarnated as “Iron Man”, and protected the story of world peace as a volunteer policeman.
You
Tony Stark was born in a wealthy family in New York. He was born intelligent and graduated from MIT at the age of 17. He successfully found his social position with proud achievements – the new boss of stark arms, his family business. The unfortunate death of his parents inspired Tony’s career. At the age of 21, he began to control tens of billions of assets and gradually established Stark’s strong position as the first arms supplier of the U.S. military.
Need
In the first part of the story, he needs to save himself and escape from terrorists. In the second part, Obadiah steals his research results and creates a war machine. At this time, he needs to save the world.
Go
Tony Stark needs to constantly improve his armour to deal with more and more powerful enemies.
Search
Tony Stark was hit in the heart by shrapnel when he was kidnapped. His life is in danger every day. Terrorists forced him to make weapons while trying to save himself.
Find
Tony Stark improved his steel armour, created another piece of fusion energy, and became a real iron man. After a test flight, he improved into a genuinely integrated armour.
Take
After Obadiah failed to replicate the micro ark reactor. He took the ark reactor in Tony Stark’s body after he paralyzed Tony in Malibu’s house later.
Return
Tony fought fiercely with Obadiah. Finally, use the phone to ask the “girlfriend” for help, set the maximum power of the laboratory equipment, use the reactor explosion’s energy to attack Obadiah just above, and finally win.
Change
After a series of events, Tony Stark understood the meaning of his existence. He closed his company’s most profitable project – manufacturing and selling weapons. He announced to the world that he was an iron man.
Characters Breakdown
Tony Stark
Tony Stark is an industrialist with hundreds of millions of assets. He took over a huge family business from his father. Tony never shies away from his noble status as a wealthy child because he knows it will help him succeed among women. He had to bear the responsibility when he inherited the surname stark. However, his real interest was in the invention, and he was recognized as a talented inventor in the scientific community.
Obadiah Stane
The bad guy who coveted Stark’s rich life for a long time could not help making waves in stark arms company and secretly trading with terrorist leaders. Get the armour wreckage damaged when stark escaped from the terrorist base from him. With the help of a group of scientists, he seizes Tony’s fusion energy and uses the steel armour on himself.
Virginia “Pepper” Potts
“little pepper” Virginia Potts Tony Stark’s assistant who is a capable, sexy and charming female assistant, can always give “Iron Man” meticulous care and help and has a delicate relationship with Tony Stark.
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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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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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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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Movies have been the darlings of people from birth to the present day. I’m not surprised that movies are so popular today because, from the large number of Stone Age frescoes left in the Altami cave in the mountains of northern Spain, we see a phenomenon: four legs on the front and back of a running wild boar to create a feeling of restless boar movement. We also see this phenomenon in the design pattern of the Chinese Majia kiln-painted ceramic dance basin: the basin is painted with three sets of hand-in-hand dance humans, and repeated lines are drawn on the arm to represent the dancer’s continuous movements. When the bay is filled with water, under the shaking of the water, cleverly make the dance characters dance.
Although these creations are too simple, they reflect the human understanding and continuous exploration of the relationship between the recorded world and life; I realized that recording moving objects is an instinctive desire. It is also the human beings in the use of symbols, words to record real-life feelings and stimulate the phenomenon and creative passion. It is in this intense desire for psychological needs the human invention of the film.
From the ancient mural phenomenon to today’s film and television art. Humans have been pursuing “desire and satisfaction.” This desire germinates from external stimulation and inner feelings and drives people to enjoy expressing what they see and understand the world. In this particular world, people can completely relax and endlessly project their own emotions of life, inner feelings, and judgments of good and evil, beauty and ugliness onto a human-created performance carrier and communicator to obtain spiritual satisfaction and balance. “The pursuit of joy in the dream world” has become the psychological basis for the public to accept the art of film, so the film has rightly become the darling of art creators, but also one of the reasons for its vigorous development.
So, actually, the history of film is a microcosm of human exploration history. From patterns to words, words to pictures, pictures to videos, we might as well boldly predict that VR will be the new darling of humankind.
First of all, we agree that visual effects (VFX) are made to interpret the camera better and tell more detailed stories by creating a fictional image. This is the ultimate goal of film work; to achieve this goal, all the means required is a process; in the film industry, the process is meaningless.
After watching the history of the development of VFX, you will know that the original VFX are not created by computers. What we said, digital painting is an extension of traditional painting. In the early 20th century, artists painted the background to add to the glass version and then placed it in front of the camera to live into the film. Rendering and CG synthesis, which we take for granted, are also recent products, with VFX being blue-screen models, footage shooting, and synthesis in previous years.
The film, or art, has never been about technological development. Technological innovation leads to new manifestations, but advanced technology does not mean that good works of art can be created. Why do we think some old movies from decades ago are still attractive? Their lighting, scenery, photography, sound quality, and now a modern second-and third-rate film are no match because they will not be trapped in technological excellence and will focus on the film’s most essential needs— telling stories and video editing.
Nowadays, the lighting team can precisely control the various characteristics of the light, perfectly match the natural light of the scene in the camera; Dolby surrounds sound, 8k or even 16k image resolution, and even 120fps of ultra-high frame rate, the filmmakers lost themselves in the vast technological revolution, gradually snubbed the film’s most essential soul.
Technology itself is no problem; better picture quality can give you a more intimate experience, better sound quality can instantly put you in the right environment. But then what? What kind of world that we want to create using these advantages? VFX, although as a super-high-tech demand area, is the same logic.
VFX technology is just a means to achieve our goals, and simply study technology may trap us in a mindset –technology can make better visual effects; however, both are not equivalent. We have to learn how to ignore technology and grasp the core ideas of visual effects production.
In general, those aims and essences remain the same in the ever-changing technological change. There is a philosophical concept called ‘means to an end,’ which means that the sole purpose of an action is to achieve a goal.
Even many professional animators can hardly define animation in the most straightforward language, pulling animation out of dazzling video art. Today, I would like to talk about the definition of animation according to my understanding of animation.
From the initial hand-drawn to computer 3D digital animation, the picture of animation is becoming more and more beautiful, plus today’s movies also use many special effects. Therefore, it is difficult for the audience to distinguish between animation and film, and the differences between them seem distinct, but the boundaries are vague. Some people may say that animation is drawn, movies are made. However, here are two examples. “Ghost Mom” is a fixed animation of puppets shot on film; the whole movie does not have a “painting” out of the picture; people call it animation. While more than half of Avatar’s shots do not use film but computer graphics to draw the scenes, people call it a movie.
To answer this question, we may have to go back to the beginning of animation. Many pre-animation art appearances in the 19th century, such as Zoetrope in the 1960s, and the Praxinoscope in the 1970s, all enriching people’s lives in an era when there was no film and television media. By 1908, Frenchman Emile Cohl had made the animated “Fantasmagorie,” each frame hand-drawn on paper–a traditional process for animation that officially separated it from cinema and flourished into the most crucial entertainment industry our time. But at the same time as hand-drawn animation, stop-motion animated film can create a hand-drawn animation challenging to show the depth of field effect and material texture, and with this unique charm firm and vigorous development, paper-cut animation, puppet animation, clay animation constantly has masterpieces gushing out. So, we see that today, even without thinking about the role of computers, the fact that the video comes from shooting or painting doesn’t serve as a watershed for animation and film–and that is confusing for many people.
Fortunately, there is an “official” answer to our question. The International Animation Association (Asifa), founded in 1960 in Anasi, France, is the most essential professional animation association. At the Zagreb Animation Festival in 1980, a formal definition of animation was given, which has been written in the second paragraph of the Association’s constitution: Animation art refers to the creation of moving images in a variety of ways other than real-life recording.
In other words, the animation is “painting out of motion”; the key lies not in the “painting”. Still, in the “moving”, if this movement is to record the reality of the movement, then it is the film. If this movement did not exist in the real world, then it is animation.
Some confusing examples are now finally clear: stop-motion animation, though shot in real-time, are puppets, clay, or paper-cuts that complete each frame at a standstill and the movement we end up seeing is entirely artificial, and it’s, of course, animated. That’s why we don’t call Chinese shadow drama animation.
As computer graphics technology matures gradually in the 21st century, there are a lot of new technologies used in making animation. That definition still applies–neither 2D key frame animation nor 3D bone binding has ever existed in the real world, so both Rick and Morty and Crazy Animal City are real animations.
At the same time, starting with Gollum in the Lord of the Rings series, new motion-capture technology was brought to life by Vita Studios – a technique that assigns actors directly to models, equivalent to digital ease of process – because these animations exist in real life, so it’s film technology, not animation. So, since 2010, the Oscar for Best Animated Feature has stopped accepting motion-capture performances. “The Adventures of Tintin” is all made by motion capture, according to which the definition is a film, and was not be eligible for the Oscar for the best-animated film.
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