computer animation
http://www.openculture.com/2016/12/25-animations-of-great-literary-works.html
[youtube https://www.youtube.com/watch?v=vixm6zGzmRM&w=560&h=315]
[youtube https://www.youtube.com/watch?v=oEZ-WxpBnqE&w=560&h=315]
[youtube https://www.youtube.com/watch?v=oEZ-WxpBnqE]
[youtube https://www.youtube.com/watch?v=vixm6zGzmRM]
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Discussions of animation often involve concepts of metamorphosis, anthropomorphism, transmogrification, fantasy, mimesis , the polymorphous perversity of bodies, its oddness and absurdity. Cartoon animation has an amorphous, elastic quality that allows forms the freedom to move and change–ordinary objects transform magically, movement is synchronized to music, and inanimate objects become humanized. Metamorphosis was a founding concept of animation, beginning with early French animator Emile Cohl, and is commonly used for fantastic or comic effect. Likewise, transmogrification is one of the advantages of working in animation rather than in live action. Animated figures are not grounded in actual physicality–they transform at the whim of the animator. [18]
This sublime adventure fantasy, replete with proto-steampunk imagery, touchingly conveys a message of ecological awareness. A young girl drops from the sky and lands in the arms of orphan Pazu—and not a moment later they’re on the run from a shadowy government agency and a band of pirates, both after the magic crystal she possesses. The chase leads them up and into the clouds to the floating airship Laputa, an overgrown fortress inhabited by gargantuan, dilapidated robots.
http://www.youtube-nocookie.com/embed/McM0_YHDm5A
The film tells the story of Chronos, the personification of time and the inability to realize his desire to love for a mortal. The scenes blend a series of surreal paintings of Dali with dancing and metamorphosis. The target production began in 1945, 58 years before its completion and was a collaboration between Walt Disney and the Spanish surrealist painter, Salvador Dalí. Salvador Dali and Walt Disney Destiny was produced by Dali and John Hench for 8 months between 1945 and 1946. Dali, at the time, Hench described as a “ghostly figure” who knew better than Dali or the secrets of the Disney film. For some time, the project remained a secret. The work of painter Salvador Dali was to prepare a six-minute sequence combining animation with live dancers and special effects for a movie in the same format of “Fantasia.” Dali in the studio working on The Disney characters are fighting against time, the giant sundial that emerges from the great stone face of Jupiter and that determines the fate of all human novels. Dalí and Hench were creating a new animation technique, the cinematic equivalent of “paranoid critique” of Dali. Method inspired by the work of Freud on the subconscious and the inclusion of hidden and double images.
Dalí said: “Entertainment highlights the art, its possibilities are endless.” The plot of the film was described by. Dalí as “A magical display of the problem of life in the labyrinth of time.”
Walt Disney said it was “A simple story about a young girl in search of true love.”
http://www.youtube-nocookie.com/embed/1GFkN4deuZU
>>παραδοξότητα και παραλογισμός.
“animation” –
“the act of producing ‘moving pictures’;
the technique, by means of which movement is given,
on film, to a series of drawings
(esp. for an animated cartoon)”
Διαδραστική σύνθεση εικόνας σε πραγματικό χρόνο
Ήχος
• Requires constant psychological closure
• Facilitating Closure – low definition image is helpful only if it facilitates,
rather than inhibits, closure
• Proximity – when similar elements lie in close proximity to one
another we tend to see them together
• Similarity – similar shapes are seen together
• Continuity – once a dominant line is established its direction is not
easily disturbed by other lines cutting across it
Vectors – directional forces that lend our eyes from one point to another (force
with direction & magnitude)
• Vector Field – combination of vectors operating within a single picture field;
picture field to picture field; picture sequence to picture sequence; screen to
screen; on screen to off screen events
• Vector Types
• Graphic Vector – stationary element that guides our eyes in a certain
direction
• Ambiguous direction
• Index Vector – points in a specific direction
• Vector Magnitude – determined by screen direction, graphic mass, perceived
object speed
• Z-axis vector: points toward or away from the camera
• The larger the graphic mass in motion, the higher its vector magnitude
• The faster the speed of an object the higher its vector magnitude
• Vector Directions
• Continuing Vectors – point in the same direction
• Converging Vectors – point toward each other
• Diverging Vectors – point away from each other
Chapter 8 – Structuring the 2D Field: Interplay of Screen Forces
Stabilizing the Field Through Distribution of Graphic Mass & Magnetic Force
• Graphic Weight
• Dimension
• Shape
• Orientation
• Location
• Color
• Hue
• Saturation
• Brightness
• Screen Center – most stable position of an object
• Off Center – the more the object moves off center the greater its
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