Esta pesquisa teve por finalidade analisar os mecanismos através dos quais filmes de animação podem ser vistos pelo espectador a partir de uma leitura documental e como a animação pode ser utilizada como estratégia discursiva em filmes documentários. Para tanto, delimitou-se como objeto de análise filmes classificados, tanto por seus realizadores como por instituições relacionadas ao campo do cinema, como "documentário animado" e utilizou-se a abordagem Semiopragmática do filme para analisar esse tipo de produção com base no conceito de "modo de leitura documentarizante" proposta pelo teórico Roger Odin. O corpus fílmico para esta análise foi composto pelos seguintes filmes: Silence (Sylvie Bringas e Orly Yadin, Inglaterra, 1998); A is for Autism (Tim Webb, Inglaterra, 1992); Animated Minds (Andy Glynne, Inglaterra, 2003 e 2008); Revolving Door (Alexandra e David Beesley, Austrália, 2006); Dossiê Rê Bordosa (Cesar Cabral, Brasil, 2008); O Divino, De Repente (Fábio Yamaji, Brasil, 2009). A análise desses filmes, em particular, e de outros documentários de animação permitiu visualizar que a leitura de um documentário articula operações e processos de produção de sentido e afetos concernentes tanto ao campo do cinema documentário quanto do cinema de animação. Em documentários animados...
It is a basic concept in Taoism that "personal infinity" can be achieved by visualizing the process where human bodies unify with the Universe through Taoism study and practice. This project, Unit is an animated adaptation of drawings created by my mother, Mrs. Hanjinying, who is writing and painting for a textbook on Taoism. It is a visualized journey of a Taoism experience featuring two characters who are different manifestations of the same self that unite and connect to nature and the Universe through their spiritual development. The animation is four minutes in length. The imagery consists of 2D based characters composited with surreal environments and effects. The characters were hand drawn and colored digitally. The elements in the environment, such as smoke and bubbles, were generated as 3D elements using After Effects. The prerecorded music soundtrack was edited in Soundbooth. My creative intent was to visualize a concept based on existing arts and documents and animate it without narration. The production process progressively emphasized idea refinement and simplification. The challenge was to create an atmosphere of a Taoist space. Finally, Unit was created to honor my Mother with a revision of her interpretation on life...
In the deeps of an old mountain, the forest has long lost its vitality. A brave young boy geared with his sword and a mystery bag, sets out on a journey to solve the mystery about the forest and save this dying world. "Burning Bright" is a six minutes 3D animation short mixing with hand-drawn flair. The total production time is about one year and three months. The following thesis report describes the technical and artistic process of making the film.
SKIRR is an animated graduate thesis that showcases 6 different environments and the life within them. It focuses on the beauty of life and art, and the creation of both. This film is comprised of 3D, 2D, and stop motion animation. It was produced digitally using various video, audio and animation software.
The following paper outlines the development and production of this film. I address concept, style and influences, goals, production process and overall experience. To further illustrate the creative process, supplementary materials are included.
"Dream"is a graduate thesis 3D animation, telling a surrealistic story about a man who tries to escape from a sand ocean and pursue his dream oasis. In this 3 minute 47 second story, the main character shows people, the way to pursue his dream, how to control his desires, resist temptation, conquer himself, drift with the tide, and finally persist in his dream to get away from the ocean.
Because the story is surrealistic, I would like to try to approach many new fields in this animation. First, I conceived it as a combination of experimental and traditional 3D animation, creating a thought-provoking effect. Second, I still kept focusing on the animation itself, which means the most important part was about the action or movement. At the same time, I would add some 2D animation into it, to create necessary particle effects, and convey to the audience the surrealistic and dreamlike feeling.
This report outlines the whole production process, from the very beginning of an idea development stage until the final completion stage, and illustrate all my inventions, obstacles, tests, failures and successes, as well as technical specifics.
The goal of this paper is to outline the production of the film "Spectacles" from inspiration to completion. Also included in this paper are supplementary materials in order to further illustrate the processes used and decisions made during production. "Spectacles" explores the importance of free play and imagination in a child's life. The film takes place in a domestic environment. The story unfolds from multiple viewpoints: the viewpoint of the
protagonist, a little girl named Gigi, the viewpoint of Gigi's mother, and then finally the viewers are given their own viewpoint. These separate perspectives were challenging to establish but were essential to the story. The film is a 2-D animation that has been drawn pencil on paper and then colored and composited digitally.
I once heard a female animator say that giving birth to her child was easier than making a film. Making an animation is indeed a very long and arduous task. It takes both the craftsmanship of an artist and the skill of a technician. The making of my film, Chinchi and Eleanor, was no different.
It is difficult to explain to the average person exactly how a film is made. Every artist has their own practices, some useful and some just old habits. Animators generally keep to a set of methods that were handed down from the animators before them. My film-making process was similar to the way other films were made, but each experience is unique to the artist. Although computer animation is highly technical the film-making process is still very organic. No two people will share the same path.
Whether a film is successful or not is really hard to say. I obviously wanted my film to be successful but unlike the "fine" arts, much of an animation's success is determined by the audience. This can be a disconcerting when your only aim is to please the viewer. It was for this reason I mostly just tried to push my skills to the next level. I wanted to perfect some of my old "tried and true" techniques as well as create some innovative methods. The idea was to create a pleasing film for others but even if I for some reason fell short...
The Culling is an animated, short film graduate thesis. It explores ideas of perception by examining an anthropomorphic tribal group of lobsters that live in the fish tank of a New England seafood restaurant. The story is told through the experiences of a new comer to this lobster tribe. It focuses on his reactions to the odd traditions and beliefs of his peers in this new and strange place. The film is a 2D animation that has been produced digitally using various video, audio and animation software.
The goal of this paper is to outline the production of this thesis film from concept to completion, as well as provide some supplementary materials used in the creative process.
As with all children, cartoons enthralled me. I cannot identify any point in my life when I got out of this fascination. To this day I watch animations of all descriptions, savor them, fantasize over making them myself and derive considerable vicarious satisfaction. I never wavered from my fascination with animation. I carried my passion forward and made a decision to pursue animation... making it my reality. My first tangible practical step in this direction was to enroll in the Master of Fine Arts program in the School of Film and Animation at Rochester Institute of
Technology. It was my intention to convert my imagination and longing into reality.
During the first year at RIT, I had the desire and the opportunity to explore the animation art form and carve a niche for myself in my individual style and innovative thinking. My interest in animation grew and kindled my interest in advancing my knowledge and competence in animation.
I was given the opportunity, and as required of all MFA candidates, to create my own work in a form of a Thesis production. I stood poised between an intense passion for the field that was fueled by more mature perceptions than those I had as a girl.
"Fancy Nancy Blues" is an animated graduate thesis film that is three minutes and thirty seconds long, based on sound cues that lead into images. It tells the story of a woman that plays the piano. She finds herself dreaming of romance, until other sounds interrupt her. This continues until her normal-looking husband returns home. He is a normal working man -- not the one she dreams of -- but she accepts her reality and meets him with a kiss.
This film is a hand-drawn animation that was produced in TV Paint Animation, Photoshop, and traditional watercolor. The film was created in full color and is accompanied by a piano soundtrack.
This paper analyzes and breaks down the entire process of this film's production from five different stages. They are ideas, pre-production, production, post-production, final conclusion and experiences.
Love is always unpredictable, especially for those who don't believe this. The story happens in an anti-physics universe, everyone lives in a separate planet. A lonely boy tried different ways to get a girl's attention. He truly believed the girl would notice him.
"Bubble Boy" is a three-minute thesis animation. It is a 3D animation that was mostly produced in MAYA 2012.
This paper delineates the whole process of making this animation, from the early stage till the final. It describes my innovations, obstacles, effort, sadness and happiness in this entire production.
The 3D short film "A Night In The Jungle" is a character animation piece that tells the very simple story of a monkey trying to enjoy a good night's sleep in the deep of the jungle, only to be interrupted by a snoring sloth that falls near him. The project was completed using Autodesk Maya and Adobe Creative Suite.
The film is purposely dialogue-free, and has the straightforward goal of entertaining its audience with classic animated physical comedy in the vein of the MGM and Warner shorts from the golden era.
Although all of the imagery in the film is computer generated, traditional 2D techniques were used for both storyboards and art direction. One of the project's challenges was creating 3D assets that truly captured the essence of the 2D artwork. A lot of research went into building comprehensive 3D character rigs that allowed the expressive, snappy and exaggerated animation style that was required for the film.
During post production, the focus of the rendering and compositing phase was making sure that the final frames had a rich look that differentiated them from standard out-of-the-box Maya renders. The hope was that the final look and feel of the film would help the audience immerse themselves in the story.
The following paper describes the creative and technical processes employed in the making of the film. Appendices include concept artwork...
Why animate that?
This question was posed to us animation students during our first week in graduate school. When one considers the amount of time, energy and money it takes to create an animated piece it is a good question to ask before starting. In the spring of 2009 I found myself asking this very question as I considered the story that I wanted to use for my thesis film. "A Bed of Butterflies" is a personal family story about my father's brother Keith, who died at the age of twenty-two of kidney failure. A real story about real people so why animate it? My original answer was a flippant "It's a powerful story and I want to try something with it." Later it evolved into the more profound goal of wanting to take something so tightly woven into the fabric of my family and make it emotionally accessible to a wide audience while still maintaining its essential truth.
This paper will recount the two and a half year I spent making my thesis film "A Bed of Butterflies." I will touch on topics such as creating a script from recorded interviews, the evolution of story, designing characters that are related to you, using silence as sound, and the pros and cons of digital 2D software. The documents and images I have included will serve to both illustrate my story and provide further clarification on certain points.
"Snakey Love" is a four-minute long animated graduate thesis film. The short features a female snake who pursuits her love for everyone that seems to be a snake shape, but she always fails because they are all not interested in a creature that is not their same species. However she finds her lover at in end by accident (Because there really was an accident).
This short film is a 3D (three-dimensional) computer animation, which means that the final vision appears on the screen was generated by using computer 3D software. It is all done by a series of different processes like modeling, shading, rigging, lighting, rendering, etc.
This paper analyzes and delineates the entire process of making this film from five different main stages. They are ideas, pre-production, production, post-production, and final conclusion and experiences.
The production of the thesis film, "Hey, Brother" by Hyungho Shin, a 3D computer animation film, is a story about two brothers (Peter and Sam) who restore their relationship through the challenges they face. The purpose of the report is to sum up the whole film making process from creating a story to the final production.
Mystery Spot is a graduate thesis film that tells the story of a sorceress who has grown
bored with her daily routine and disinterested in her magical abilities; significant though they may be. She seeks answers outside herself, feeling that the life and 'powers' outside her own are more interesting and more powerful. She discovers things aren't always as they seem. Other powers can come at a price and other lives are not necessarily so good. She returns home with a renewed interest and appreciation for what she has. The final film is a mixed media 2D/3D using Maya, Adobe Photoshop, Adobe After Effects, Adobe Premiere and Toon Boom.
The following paper is a description of the aesthetic development and choices, as well as the production pipeline, that got me to the finished project. The paper will also address my own relevant experiences that led to the film and animation program at RIT, and a personal reflection on the film and it's production, as well as thoughts on screenings and reactions to the piece.
Ultimately this paper is about one film and two productions. The first production concluding in a screening which I did not pass. I feel like the first film was a stepping stone in the process toward the final and complete film, and so I will discuss it in this paper as part of that process.
The animated film, Podification: Horatio and the Metamorphosis Mystery is the tale of a caterpillar, Horatio, who is faced with what could be the final moments of his life. The story tells the end of his journey and his interactions with his few remaining friends. The film was created using Autodesk Maya, Adobe Creative Suite and edited using Final Cut Pro.
The intention of the film was to create a small world, populate it with a broad range of characters, and communicate the central narrative theme which encompassed change, the unknown, and the uncertainties we all face in our own lives.
While computer generated, a great challenge of this project was creating a world and film in a digital, virtual world that began as 2D illustrations and could also draw on my experience as a stop motion animator. The goal of a thesis film, animated or live action, is to tell a story, communicate an idea, and bring together everything learned from past work into a new project. Building on my past projects, I worked to improve my skills in visual storytelling and directing. These goals could only be met with improving modeling techniques of characters, as well as by giving each character a distinct and strong personality, easily identifiable in the animation.
Through every step in the process of making this film...
"Unhinged" is an animated graduate thesis film 7 minutes, 30 seconds long, which was originally conceived as a story about decision making, and it turned into a story about loneliness and an acceptance of it. It tells a story of a troll, Lancelot, who carries on a lonely life in a neglected cabin in the middle of a desert. He entertains himself by playing masquerade with his friends, mannequins-hat-holders. One day he hears a knock on the door and struggles with fear to open the door.
This film is a hand-drawn animation that was mostly produced in TVPaint Animation Software. It is done in full color and has an elaborated soundtrack.
This paper outlines the whole film creation process from the very beginning of an idea development stage until receiving a response and critique. It describes all my inventions, obstacles, failures, and successes, as well as technical specifics of the process.
Every weekend when I was growing up, I could be found glued to the television set in my Spider-Man pajamas, inhaling my favorite frosted covered cereal, basking in the glow of the Saturday morning cartoons. My favorites were the reruns of the classic Looney Tunes shorts, featuring the famous chases between that long eared hare Bugs Bunny and the egg-headed hunter, Elmer Fudd. Even as a child I was in awe of their timeless sense of humor and their limitless ability to parody any subject matter. Twenty years later, I strove to capture the same style and spirit that the Warner Bros. Studio made famous during the golden age of animation with my thesis film, The Crooked Frame.
During my graduate studies of 2D animation, I developed a knack for using the chase as a theme; both of my first two animation projects dealt with similar stories. However, my initial efforts were rather simple, without much development beyond the initial chase structure. With my thesis, I wanted to develop a more complex chase sequence that played with different humorous situations. The animation would challenge both my narrative and comedic skills, which made it an overly ambitious undertaking, as I tend to bite off more than I can chew.
I decided to use the history of art as the vehicle to drive the film because of its potential for great visual humor and compelling imagery. Having studied fine art in my undergraduate career...