Sound.

Unfortunately for me sound isn’t terribly important within my creative or production process even though it consists of 50% of my final film. Sound plays a tremendous role in how people interpret your film; from the emotions the sound leads the audience to feel as well as to also help drive the action within your film. Sound can be used in this huge multitude of ways, yet time and time again I throw scoring on the back burner while I continue to work on other projects. Ideally you should spend as much time, if not more, on sound and how it works within your film rather than saving it for the last minute to compile in so that there is something backing your film. What really alarms me is the fact that although I acknowledge the importance of sound and it’s effects within film, I still don’t take the initiative to work on the sound when I really should. Although this isn’t directly related to animation, it still is an important topic to bring up. First imagine your favorite animation without dialogue? (Now if your favorite animation already lacks dialogue you are one step ahead!) If you can imagine all the sounds that went into making that soundscape (ticking clocks, cars passing by, footsteps etc.) and silence them to what are you limited to? A film without sound lacks an entire layer that can be used to tell the story as well as eve emotion. Nothing is truly silent therefore our short films shouldn’t be either.

TAPE Production and Postproduction Reel

In the midst of my daily adventure to find inspiration via the internet and the physical world around me. I came across a video today that was filled with motion graphics and animation that could do easily (being that we already discussed this in class.) The TAPE production and postproduction reel visually illustrates the use of particles, color correction, expressions, and green screens (or green people). Either way the video is pretty short but is enough to ignite your imagination with tons and tons of ideas.

TAPE | Production & Postproduction Reel from TAPE on Vimeo.

Gritty Reboots: The Process

Gritty Reboots is a youtube channel dedicated to remaking nostalgic television shows/video games/comics into something more well, gritty. And while these videos may or may not be your cup of tea, it’s interesting to see the kind of effects they have to do to accomplish what they want. They divide their work into three parts: the final product video, the back-to-back comparison video, and the how it was done video. They’re definitely a channel I’d recommend checking out if you’d like to see the process of video production and after effects with a small-scale company.

    Looking through their work, Gritty Reboots definitely had built a signature look: dark and edgy. They're lighting is more often than not borderline cold, catering to the dynamics of light and dark in a picture. It only makes sense given that they're final products are marketed as being more serious than their whimsical origins. 

    The before and after is a good look at what their original shots looked like without all the color-grading and special effects. It's really interesting to see what a change in lighting here or a single mask there, makes in a film. 

   Similar to other small-scale video production companies on the internet (such as the Hillywood show), Gritty Reboots has a small team that knows how to get the shot. Their behind-the-scenes are as interesting (if not more) than the final product. To me at least, it shows just how able you are to accomplish something if you're willing to put in the work. Like other BTSs of theirs, they also offer a glimpse in to the entire production process as a whole. Yes, these aren't meant to be tutorials but they can do just fine as inspiration.

   Gritty Reboots is certainly a company that's worth looking at, even if it's just to see their feats they've managed to accomplish. 

It's OK to Be Different.

As a current attendee of Ithaca College's, Park School of Communications, I have noticed a certain tension between students studying Television/Radio and students working towards a degree in Cinema. Because the two majors share similar territory, every determinable difference between the two degrees are immediately picked out and then blown entirely out of proportion. Recently, I've come to the realization that the stereotypes held between TV/R and Cinema majors are strangely reminiscent of those between American, and Japanese animators.

I know it sounds ridiculous now, but allow me to elaborate. You may discover that the comparison isn't as absurd as you thought.

STYLE:

Let me start out by describing some stylistic characteristics of American animation. Here in the U.S., many animations tend to lean toward a "cartoon-ish" animation style.

For example, cartoon characters often possess rounded, highly exaggerated features. Furthermore, the characters/settings of this style of animation tend to lack both detail and shading.

The character, "Cheese," from Cartoon Network's show,
"Foster's Home for Imaginary Friends"
is a great example of the American "cartoonish" animation style.

Compare this style now to that of Japanese animation-- specifically anime. Anime characters often possess large, detailed eyes and small noses/mouths. Japanese animators are known to use angular strokes, and pay far more attention to shading and highlights than their American counterparts. 

Below is a classic example of the "anime eye."

Notice the degree of detail portrayed through color and highlights to add depth to the eye. 

One of the primary reasons that American animators avoid including so much detail in their animation has to do with merchandising. It's a lot easier to produce a Mickey Mouse doll than it is to produce an intensely detailed anime character.

                   Mickey Mouse Doll--  $0.50 to produce,

                   extremely cuddly, and very durable.

    

                                                                       Anime Doll-- $10.00 to produce,

                                                                    not so cuddly, flyaway hair guaranteed 

                                                                    to snap off on the ride home from the toy 

                                                                                            store.

Another stylistic difference between Japanese and American animation has to do with camera angles. Anime makes sure to incorporate creative angles and unconventional perspectives-- something that the majority of American animation lacks.

^Japanese angle chosen for dialogue between 2 characters ^

^American angle chosen for dialogue between two characters^

     

PRODUCTION:

I realize that so far I've been successful in making American animators look like lazy, money-crazed SOBs; I can fix that. What American's lack in technical detail, they make up in animation. As a rule, American animations contain far more animation than the Japanese do. Why? Well, the answer is simple really: the Japanese are a bunch of rotten cheaters. That, or they're just a little bit smarter. Maybe both. 

Here are ways our asian counterparts cheat the system:

1. When a character begins reciting a long monologue, the creators only focus on moving the character's mouth and perhaps a few strands of hair-- ignoring the rest of the scene. 

1. Action sequences are created by moving the background in a quick, stylized fashion, while the character remains frozen in a cool fighting pose. (see below)

AUDIENCE/CONTENT:

One of the main inconsistencies between American and Japanese animation has to do with the target audience: or the people whom the animation caters to. 

For example, the majority of American animation is intended for child viewers. Furthermore, the few animated series that DO cater to adults, (think Family Guy, The Simpsons, American Dad!, etc.) often possess absurd plots and vulgar humor. Because of their content, even adult animated series' may be considered "immature." 

In Japan, animation is not confined by generational boundaries. Anime is followed and enjoyed by children and grandparents alike. (This is why many American parents are shocked when they discover "mature" content in the anime "cartoons" their children are watching.)

Also, unlike cartoons in America that can be watched out of episodic sequence with little to no penalty, anime is distributed in serial episodes. Serial episodes require the viewer to understand the content revealed in previous episodes in order to fully appreciate the current episode. Some shows that follow this sequential building style in America include dramas like, "American Horror Story," or "Breaking Bad." 

REASONS WHY TVR STUDENTS ARE LIKE AMERICAN ANIMATORS AND WHY CINEMA STUDENTS ARE LIKE JAPANESE ANIMATORS:

1. Japanese animators like making the bad guys blonde-- Cinema students dye their hair dark to appear more "artsy."

"I hate blonde's because they're evil" -the Japanese and/or American cinema students

Ok, ok. You were right. My initial comparison between Japanese/American animators and Television Radio/ Cinema majors was unreasonable. But at least you learned a little something about animation. You'll thank me later.

After Effects? What about good ol' Practical Effects?

 

What did we do before the wonders of After Effects and post production possibilities? Directors and film-makers alike used what's known as Practical Effects! Practical effects are basically special effects done in real life. So what that means is, if you want a head to explode, you need to find a way to make something look like a head, stuff it with blood and guts, and actually explode it in front of a camera.

It takes a certain amount of creativity and know-how to get some of these special effects done, but when they're done, man do they look good. There's something about practical effects that just leaves viewers with a lasting impression. After watching the stomach teeth scene from The Thing (#1 in the top 10 video above), I don't think it would look as disgusting and horrifying if it were done in post-production. While practical effects are becoming less and less common, I think they should still have a place in movies today.

Welcome to Film Riot

Ever wonder how movies did all their fancy After Effects effects? Of course you did! We all do, and that's what Film Riot's here for! Created by a group of film makers who love what they do, Film Riot teaches viewers how to do a wide arrange of things that the pros do. From pre-production to post, Film Riot encourages people to learn all the techniques.

Along with step-by-step tutorials in After Effects, Film Riot also has great Do It Yourself videos, to help you make the best cheap gear you can get. Film Riot can show you the ways of making cheap light stands, shoulder mounts, sliders, and more! While I haven't used all the DIY gear, I have used the slider, and I must say it is great! For less than $20, the DIY slider flows beautifully, and was a great tool to work with in many shoots.

Don't feel like learning, but feel like making instead? Great! Film Riots encourages viewers to not only watch their videos, but to go out and shoot their own films. Offering weekly video challenges, Film Riot wants you to go and make stuff! It makes sense when you think about it, the best way to learn the techniques they teach is to go out and actually do it!

So that's Film Riot! If you're interested in becoming a film-maker, or just want to learn more cool techniques, I highly recommend checking these guys out.

Movie Production Logos

Recently, I saw All is Lost starring Robert Redford and it was basically Cast Away without Wilson. Regardless, I started thinking about production logos and what makes them special. I watched many intros and realized at this point in my school career, I could remake practically all of the logos. The memorable part of each logo, however, is the sound. You recognize the Focus synth and the MGM lion roar as much as you remember the logo itself. Arturo stresses the use of sound in animation and it truly is important. Whether it is a song or a synth swell, the audience can associate the sound with the logo. More advanced titles are recognizable such as Jerry Bruckheimer Films and it preps the audience to expect something amazing. If you see an unrecognizable production title you may not know what to expect but if you see the MGM logo, for example, you associate it with extremely high production value. The companies have a few seconds to express the brand and need to make it memorable. Each logo requires a sound and it's usually a swell that draws you into the picture. I plan to create a powerful logo for my reel that draws the audience in through sound and simplicity.

Transistor

This week I'm posting about "Transistor". "Transistor" is a new video game that's being released in 2014 by SuperGiant Games. This is the trailer for "Transistor".

In "Transistor" you play as Red, a singer who finds an intelligent sword and because of that is constantly being pursued by the antagonists of the game. This trailer, shown at the announcement of the game is ripe by 2D animation both from the actual game, and cinematics created for and played throughout the trailer. This is a 2D game meaning all of the animation within it is in 2D. This is also a nice piece of work to look at because it really demonstrates how much animation goes into a video game. There's all of the cutscenes, the character animation, the environments, and more, these are all things that have to be created in order to make a complete game. In this trailer you can see all of that. You can also plainly see how all of the elements in the game are in 2D. In order to make a good video game, you need to think about everything you would think about while making a movie. Framing the scenes, lighting, costuming, all of that. I feel like sometimes people forget that games are art and I think this trailer really illustrates that well.

Dragon Baby

The thing that impressed me the most about this piece is the fact that even though the viewer knows it is fake, it is nearly impossible to catch any flaws in the animation.  This looks soo real and and so well done that its production personal must have an extremely experienced background.  It is one thing to fight on the green screen and then make it look like they are in a miniature environment.  But the fact that they were able to put the child’s head on the actor with such an apparently flawless execution is absolutely stunning.  They were even able to achieve all the head movements and various expressions necessary from the baby with the correct orientation of his head.  The editing that must have gone into this must be remarkable.  I realize that this level of animation mostly likely won’t be able to be achieved from just this class alone, but it would be very interesting to know how they did this.  I am in awe.