Star Wars II CGI

With the upcoming release of Star Wars: The Force Awakens, I've been looking back over clips from the prequels, interested in what went so wrong. One major factor which everyone attributes the prequels for mistakingly doing, is overusing CGI.

While I can appreciate more CGI than others (a strong bias which stems from wanting to work in the VFX industry), I can certainly only withstand a certain amount. And I agree the prequels and subsequent re-releases of the original trilogy went overboard. I came across the following featurette on how digital characters were used in replace of puppets.

It is an hour in length, I'm about 3/4's of the way though, but if you have some time I'd recommend giving it a watch. Understandably though you probably don't have time, so just check out the scene from around 8:47. It's interesting to see George Lucas' bias towards CGI and how he approaches it. I found it fascinating how the whole featurette feels slightly dull and lifeless, like the heart of filmmaking is missing.

Overall I think it's worth a watch, an interesting look into Lucas' mind.

Don't Hug Me I'm Scared... But Actually

The Don't Hug Me I'm Scared series, created by Becky Sloan and Joseph Pelling, started in 2011 with the first episode. It just came out with the fourth episode on Tuesday and will be coming out with more soon. It starts off imitating a children's show through the use of singing and talking puppets, but the themes quickly become dark and absurd through psychedelic content and disturbing images.

I love the juxtaposition of the simple, seemingly innocent intros with puppets and song with the uncomfortable and scary ending that makes you question pretty much everything in life.

(These videos are not for the faint of heart.)

The first episode focuses on creativity and prepares you for feelings you will be getting for the next ones:

The second episode focuses on time and is my personal favorite:

The third episode is about love:

And here is the newest one, centering about technology/computers:

Becky and Joseph have won three awards, attended 12 festivals, and many talks for their great work and impact they've had on viewers. 

Coraline: A Frame by Frame Process

With Halloween coming up, it’s fair to say that I’ve been celebrating in my own way by watching everything creepy and everything out of the ordinary. This being Coraline, produced by Henry Selick and Claire Jennings through Laika Entertainment (and Focus Features).

For those who are unfamiliar, Coraline (based on the title book by Neil Gaiman) is about a girl who hates her mundane life and finds herself being forced to move into this ancient old house by her parents. Inside, she finds a hidden door that transports her to a “perfect world,” where no one nags her and she can do as she pleases. Unfortunately, something sinister lurks in this fantasy and Coraline has to faces both her own and the physical demons that aim to harm her.

The reason I bring this movie up though, is for the sheer amount of work that went into making it. Every single frame is a stop-motion picture that captures three-dimensional puppets that are moved millimeter by millimeter so by the end of everything, a moving image is created. It’s a process that’s tedious and grueling, but exhibits a sense of refined mastery that could only be done through this type of claymation.
It's mind-boggling to see just how many people are dedicated to making the singular hairs move on one characters head, let alone the amount involved with crafting the universe. The fascinating thing about stop motion is that there are hardly any limits. With the power to manipulate anything and everything frame by frame, the animators have been given a means to do exactly what they want (and as they please). As Selick puts it, "the miracle of stop motion is it's an actual performance through the puppet by the animator."

How They Make Animals Talk

This morning I was thinking of the movie Babe, so then I decided to watch clips from the movie. One of the scenes that really interested me was the scene below.

My question was how the heck did they make the animals talk? I guess the could train them to speak English, that's not that hard. I did a little research and found that they did not train them, they used "animatronics" and digital animation. Animatronics are like puppets on steroids. They're stuffed with electronics that snake out to a control panel where a puppeteer can manipulate the creatures and make them appear to talk.

As intricate as these robots are, they're usually not convincing enough to carry all the FX shots. A good movie uses several different techniques to keep the movie-goer guessing. So they added morphing and warping to the mix. Here, the special effects crew hand-animated the frames of the movie by warping the image around the mouth of the cat. They often morphed the two techniques, animatronics and warping, together before compositing them on top of the live action.

Now ya know because it's Patricia's super short show!

It's about Character (pun intended)

I fell in love with puppet theatre when I was a kid, and the fascination about it has never stopped entrancing me. There is something magical about the transference that occurs from puppeteer to puppet and vice versa, as the puppet character takes not only a life of it's own but starts controlling the life of the puppeteer!

As Ricky Syers, creator of Stix says in this video "I'm not really sure where Stix is going...but I am willing to go along for the ride".  This experience holds true for all of us who work in this or other forms of storytelling. We see our characters take a life of their own and have to be very careful not to intervene but simply clear the way to let them express themselves.

Like Gustave Baumann, a maker of marionettes and creator of The Puppet Wranglers said in his comment about the work of master Bill Dwiggins; "These animated pieces of wood, properly jointed, take on a life of their own, move about in ways you never dreamed of, and rewrite your script without bothering to ask permission."

William Addison Dwiggins (1880-1956) by the way, was a type designer (characters, get it?), calligrapher, typographer, illustrator and writer, one of the foremost contributors to the printing arts, but my admiration for him comes from the world he created through his Experimental Theatre, where some truly extraordinary characters came to life, in a meticulous carved environment where every element of design, wether visible to the audience or not, was made with the exacting precision of his great font designs, widely used in the book publishing industry, and carried today in digital form by Linotype.

Dwiggins is also credited with coining the term 'graphic designer' in 1922*


*Livingston, Alan and Isabella., 'Dictionary of graphic design and designers'. London: Thames and Hudson, 1992