Week_02: Research of 12 Principles of Animation

Research of 12 principles of animation:

Briefly, 12 priciples of animation is:

  1. Squash and stretch
  2. Anticipation
  3. Staging
  4. Straight-ahead action and pose-to-pose
  5. Follow through and overlapping action
  6. Slow in and slow out
  7. Arc
  8. Secondary action
  9. Timing
  10. Exaggeration
  11. Solid drawing
  12. Appeal

Squash and stretch

Squash and stretch is a good way to emphasize charactors or objects’ weight, mass or speed. Squash and stretch can make objects look softer. Some tips may help to make a better squash & stretch results:

  1. Keep the volume. Remember to stretch one direction of the shape when the other direction has been squashed. Always keep the volume the same.
  2. Do not always use squash and stretch. Squash and stretch should be used only when people need it.

Anticipation

Anticipation means that charactors should prepare before they make actions. This method can make actions more realistic. What’s more, anticipation can help audience realize what will happen next.

Anticipation can be simple or more complex. Mutiple-anticipations is needed when actions quite complicted.

Staging

Staging is the presentation of any idea so that it is completely and unmistakablly clear.

Staging can be applied to acting, timing, camera and settings.

  • Acting: Acting should be designed properly to lead audience to watch. A messy acting will be terrible.
  • Timing: The rhythm of an animation is also important. Give audience time to think or realize what is happening.
  • Camera: Use far away camera to show charactor’s big actions and use close-up to show their expressions.
  • Setting: A better setting can show clearer charactor’s personalities.

Straight-ahead action and pose-to-pose

Straight-ahead & Pose-to-pose are two common methods of making animations. Straight-ahead means that animators draw/keyframe animations from start to finish. Pose-to-pose means that animators firstly draw/keyframe most important parts of animations and then come back to fill in the other parts of it. Frankly, both of them has pros and cons:

Straight-ahead:

  • Pros: smoother action,
  • Cons: terrible timing, hard to control, size of charactors may change

Straight-ahead should be used in some unpredictable actions like fire, particles, explosions or overlapping actions.

Pose-to-pose:

  • Pros: better control, better timing, prevent size change of charactors
  • Cons: hard to make unpredictable actions

Pose-to-pose should be used in some predictable actions like charactor animation. There are some special terms for pose-to-pose animation. The most important frames in animation called Keys, the second important part called Extremes, the third important part called Breakdowns.

Straight-ahead & Pose-to-pose should be used based on what animations need. A combination of straight-ahead & pose-to-pose workflow is the best.

Follow through and overlapping action

Follow through refers to the way parts of the body continue to move after the body is stopped. Overlapping refers to the offset between the timing of the main body and its other parts. Both of them make animation more realistic and more interesting.

Mostly, the part of the body should follow the action of main body. For example, hand should follow arm and hair should follow head.

Slow in and slow out

Slow in and slow out is that actions should start slowly and end slowly as well, which can make actions more realistc. Slow in and slow out should be used base on different situations. Do not use them everytime.

In 3D animations, slow in and slow out can be easily achieved by changing the tangent of curves in animation viewport.

Arc

Arc means that moving things in circular paths. Mostly living creatures moving in circular paths, only machanical things moving in lines. A straight arc gives the movement more power.

Arc can also represent objects’ weights or other physics. For example, different circle movement of arms can should dfferent weights of the ball that charactor is holding.

Arc can also prevent animators from making some common mistakes like accidentally cut the length of objects.

Secondary action

Secondary action refers to gestures that support the main action to add more dimension to the charactor animation. Secondary actions can make the whole actions more interesting and add more personalities to the charactor.

However, secondary actions should not overlapping the main actions. Also, don let it go unnoticed. People shouldd give audience enough time to notice secondary actions.

Timing

Timing states that the personality and nature of an animation is greatly affected by the number of frames inserted between each main action. With more drawings/keyframes the action will become slower. One action can have different meanings when the timing is quite different. Sometimes less drawing/keyframes can make the action smoother.

Exaggeration

Exaggeration is one of the most common parts of animation, which can make animation looks more powerful and interesting. Exaggeration does not mean more distored, but mroe convincing.

When making fast animation, bigger exaggeration can make the animation looks better.

Remember to do exaggeration more and more until it is enough, then go back to adjust it.

Solid drawing

Solid Drawing refers to the use of the basic principles of drawing form, weight and volume to create the illusion of a 3d object. Some tips may help to make a better soild drwing:

  1. Do not make pose symmetrical. Symmetrical poses are bad for animation, which looks unnatural and boring.
  2. Using perspective. Perspective can help animators to check whether their charactors fit in the 3D environment properly.
  3. Avoid symmetrical lines. For 2d artists, do not use symmetrial lines to draw things. Draw things more three-dementional.

Appeal

Appeal means that animators should keep their charactors outlooking interesting, for both heros and evil charactors. Appealing does not mean good-looking but impressive. Some tips may help charactors looks more appealing:

  1. Use variety of Shapes. Use same shapes to design charactors can make them quite boring. Instead, using clear and variety of shapes bring them more personalities.
  2. Edit Proportion. Editing proportions can enlarge the adventages of charactors and make up the disadventages. Magnify things that looks interesting and shrink ugly or boring things.
  3. Keep simple design. To much complex details is not good for an animation charactor. Keeping it simple may gives audience a better first impression.

Week_02: Q1 Answers(Design for animation, narrative structure film language)

Disney’s hyperealism animation aesthetic is far-meaning and has a great impact on hundreds and thousands of animations. Following with Disneys’ footsteps, many studios and artists applied the 12 principles of animation and the use of traditional filmmaking workflow to their works. However, there is still a small number of animations which didn’t followed these rules but still got great results. Animation Waltz with Bashir is just one of them.

Waltz with Bashir

Waltz with Bashir is a 2008 Israeli adult animated war documentary drama film written, produced and directed by Ari Folman. It depicts Folman in search of his lost memories of his experience as a soldier in the 1982 Lebanon War.

Animators took four years to complete this film. It combines classical music, realistic graphics, and surrealistic scenes together with illustrations similar to comics. The entire film is animated, excluding one short segment of news archive footage.

protagonist in real life
film version

The animation, with its dark hues representing the overall feeling of the film, used a unique style invented by Yoni Goodman at the Bridgit Folman Film Gang studio in Israel. The technique is often confused with rotoscoping, which is an animation style that uses paintings over live footage, but is actually a combination of Adobe Flash cutouts and classic animation. All animations were done with a technique called Cut Art. Unlike classic animation where animators draw each frame all over again, animators of Waltz with Bashir disassembled the original illustrations into hundreds of pieces. Artists then animate them by simply moving these parts to create the illusion of movement. By using this unique technique, charactors are able to show rich facial expressions and movements.

Cut Art technique
Graphic style

Unlike traditional animation working pipeline, the film was first shot in a sound studio as a 90-minute video and then transferred into a storyboard. After that, nearly 2,300 original illustrations were drawn based on the storyboard, which together formed the actual film scenes using Flash animation, classic 2D animation, and 3D technologies.

Waltz with Bashir is a slow paced animation documatary film with yards of dialogue, which shows an special animation editing that is quite different from Disney’s. Thanks for animators’ hard work, people can enjoy a new style animation and a serious, thought-provoking story.

Week_01: Notes & Understanding of Film, Animation and VFX

This article contains both course notes and a short essay about film, animation and VFX. The notes and timelines are at the end of the article.

Mini-Essay:

Apparently, the history of film, animation and VFX are some big topics. It’s quite hard to cover all these historys in a short essay. Depending on my own interests, I would like to share my ideas about the history of film, animation aand VFX.

The film documentory that we have seen on week 1 course is just a brief introduce of early film history and stories of poeple who devoted themselves into film industry. However, we can still feel the passion of former artists by enjoying their film works through that short video. I was shocked by early artists’ creativity and the spirit of exploration. Some people said that the existence of film extends the life of people almost three times, which is defenitely ture. From Sci-fi films to feature films, people can enjoy different kinds of experience and feelings from them. Thanks for Lumière brothers and other film workers’ devotion. It is quite hard to imagine what the life will be if film doesn’t exist.

The history of animation, to me, is also a human visual recording history. Before camera and shotting devices were invented, people collected movements by drawing several painting on papers or small devices. Such simple behaviours final lead to the form of animation. Rencently, animation is far more than a form of art. It has been widely used by advertisement industry, medical treatment area and education. People used to watch animations for fun, but now, they already bacome part of our lives.

VFX(Visual Effects) is also a topic that people cannot ignore when talking about modern movies. It is quite unbelievable that even VFX has already been developed nearly 90 years. VFX is an industry which quite relies on modern techniques. From special makeups, stop motion to degital visual effects, the quality and developing efficiency of VFX has been significantly improved. Does that mean VFX has become better and better? Through out the history of VFX, I can say it is not quite true.

From my point of view, the quality of VFX not only depends on the level of techniques that people used in their work, but also the level of asthetic, hardworking and imagination that they have. Some classic VFX, like the liquid metal cyborg in Terminator 2 (1991) or the horrible creature in The Thing (1982), still makes people deeply shocked even after 20 or 30 years. Former artists devoted themselves into these artworks. They brought their imagination and asthetics into these works and finally gave audience the best visual and sound experience. Some recent films, however, combined with several CGI techniques but still make people feeling boring. Therefore, only VFX which has both great techniques and high-standard imagination can last longer in people’s memory, and that is what I have learned from the history of VFX.

Terminator 2: Judgement Day (1991)

It is quite boring to repeatedly talking about what VFX artists have DONE before. What the history of VFX will be in the future is something that I’m also curious about.

After the blockbuster AVATAR released, the modern VFX workflow almost became mature. Texture painting software for film production like Mari, was released in 2010. Render engines like Arnold, Redshift and Vray, are all quite capable for film and animation production. From The curious case of Benjamin Button (2008) to Blade Runner 2049 (2017), recent VFX techniques can already simulate high-quality human skin textures and photo-realistic hairs. Based on Facial Action Coding System (FACS), facial actions can be animated or captured with great details. It seems that recent VFX techniques can almost make everything come true, but the efficiency of production still need to be improved.

Blade Runner 2049 (2017) degital double for charactor Rachael, made by MPC

As far as I think, real-time rendering will provide a new workflow for VFX artists, which may have chance to become industry standard in the future. The release of Unreal Engine 5 seems quite exhilarating, but there is still some lacks. Visual efffect like particle simulation, fire and water, still not quite satisfied in real-time engine. Improvements may take years, but undeniable, real-time workflow may change the history of VFX in the near future.

Unreal Engine 5 real-time rendering scene

The next step, I think, may be finding a way to lower the cost of VFX. When techniques are no longer the obstacle of VFX production, budget will be the biggest task. It include equipment cost, team employment and place rental cost. To solve this problem, future softwares must be more practical and easy-to-learn. What’s more, a non-linear workflow should be built. Maybe there will be some self-learning VFX softwares in the future, I think.

In conclusion, VFX techniques are going fast recently. It’s hard to predict what will happen in future development, but base on the history of VFX, I am sure that VFX will still astonish people again and again as before.

NOTES:

Mise-en-scène: overall look of film

Mise-en-scène is the stage design and arrangement of actors in scenes for a theatre or film production.

  • Settings: indoor, outdoor, site…
  • Costume: show actors identity or characteristic
  • Lighting: 1.Three-point lighting 2.High key/Low key lighting 3.Hard/Soft light 4.Chiaroscuro 5.ambient lighting 6.motivated/unmotivated lighting.
  • Color: 1.Black&white(B/W) 2.Tinting 3.color film 4.Color grading 5.Color palette
  • Space: 1.Balance 2.Deep space 3.Shallow space 4.Offscreen space 5.Blocking

Camera

  • Shot length: 1.wide shot/extreme wide shot 2.medium shot 3.two shot 4.close up/extreme close-up
  • Angle: 1.Eye level 2.High angle (make person small/silly) 3.Low angle (make person large) 4.Dutch angle (strange/unnatural)
  • Focus: 1.Depth of field 2.Deep focus 3.Shallow focus 4.Rack focus
  • Lenses: 1.Telephoto lens 2.Wide angle lens 3.Fisheye lens
  • Movements: 1.Handheld (holding camera, more freedom but less control) 2.Steadicam (stable)
  • Move Methods: 1.Pan 2.Tilt 3.Zoom 4.Dolly/Tracking shot 5.Jib/Crane shot 6.Dolly zoom (zooming+ changing depth)

Editing

Sequence shot

Cut: the transition between the end of one shot and the beginning of another

Continuity editing Tech(reflect reality):

  1. Screen direction
  2. Match on action (movement carry from one to another)
  3. Eyeline
  4. 180 degree rule (camera always stays on one side of the characters) (help audience to find out the place and direction of characters)
  5. Crossing the axis (camera jump everywhere, can be used when the place of characters are clear, or in scenes that you want to make a chaotic feeling)  
  6. Establishing shot (show where scene takes place)
  7. Master shot
  8. Close-up, Reverse angle, Insert shot, Cross cutting

Discontinuity editing Tech(reflect emotion):

  1. Freeze frame
  2. Slow motion
  3. Fast motion
  4. Reverse motion
  5. Jump cut
  6. Match cut
  7. Split screen
  8. Overlay
  9. Montage (series of shots link together to create a third meaning)

Timelines:

Timeline of Early Film:

1895 Dec 28th Lumiere brothers demonstrated their first moving pictures

1891 Thomas Edison perfected kinetoscope

1892 Emile Reynaud projected first animated film on his praxinoscope

1897 George Melia built first film studio

1901 Andre Deed (first film star)

1908 Max Linder became famous

1914 World War 1, Max Linder got terribly hurt

1917 and after Charlie Chaplin became more and more famous

End War Hollywood took the lead

Timeline of Animation:

1609 Magic lantern

1825 Thaumatrope

1900 Painted animation (people outfit changing animation)

1914 Gertie the dinosaur(First character animation)

1928 Steamboat Willie (Disney’s first shot) (First one use music and sound)

1929 Black Tuesday (Wall Street Crashed, People go to theatre for fun, industry and audience paid more attention to animation production)

1937 Snow White (First feature animation movie) (Multi-depth camera technique)

1970 Animation for advertisement

1986 Pixar spin-off as a corporation. CGI animation begin

1995 Toy Story exist

2009 Avatar (CGI film)

Timeline of VFX:

1933 King Kong

1958 The 7th Voyage of Sinbad

1963 Jason and the Argonauts (famous stop motion sequence: skeleton battle)

1985 Young Sherlock Holmes (ILM) (First photo-real computer-generated character)

1989 The Abyss (ILM)

1991 Terminator 2: Judgement Day (ILM) (impressive liquid metal robot VFX)

1993 Jurassic Park (ILM) (Creatures with skeleton, textured skin and detailed muscles) (real people test)

1995 Casper (ILM) (First computer animated title character)

1995 Toy Story (Pixar) (First feature-length film made entirely by computer animation)

1996 Dragonheart

1999 Episode 1-The Phantom Menace (ILM)

2001 Final Fantasy (First hyper-real fully CGI film)

2002 The Lord of the Rings:The Two Towers

2002 Episode 2-Attack of the Clones

2003 The Matrix Reloaded (Universal Capture)

2005 King Kong (Better facial expression and capture)

2006 POTC: Dead Man’s Chest

2007 Beowulf (Advanced motion capture)

2008 The Curious Case of Benjamin Button (Face scan) (Mova’s Contour Technology)

2009 Avatar