Digital era

Posted on by Sammy Liu

Class Notes:
Front Screen Projecting is an in-camera visual effects process in film production for combining foreground performance with pre-filmed background footage.
Tools. Mirror tint = a one way mirror.
Oblivion (2013) is an example of front screen projection.

Optical Printing Technique = the master film is projected through a lens to expose the raw stock. In continuous printing, the master film and the raw stock both run continuously. Continuous printing is usually contact printing but can be optical, through a projected slit.
– used to make special effects.
E.g – Tango (1980) by Zbigniaw Rybonski

JohnWhitney – Father of computer Animation.
Vertigo – Title Sequence (1958)

Ivan Sutherland – Professor, Scientist, American Computer Science
Sponsored by government, invented Sketchpad

John Warnock – Founder of Adobe System Inc

Edwin Catmull – Founder of Pixar Animation Studio, Former Vice President at Industrial Light and Magic (Later bought by Steve Jobs)
Developed fundamental techniques for computer animation.
Early experiments include: A Computer Animated Hand (1972), the first computer graphics.

John Lasseter – Where the Wild Things Are = used CGI to create backgrounds. Student film = Lady and the Lamp (1976)

Major Post 16: Documination

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The idea of Documented Animation primarily started off as short moving-pictures presented inside documentaries, for example, Winsor McCay’s The Sinking of the Lusitania (1918). At this point in time, animation was more like a decoration for documentaries – accompanying the information.
Eventually, it developed into more freedom for Animators and Film Makers to be more experimental towards the input of their thoughts and ideas.

My favourite that screened would be Of Stars and Men (1961) by John Hubley. This is something that could have been screened in science classes (despite it being longer than 1hr). It reflects results of the curiosity from that era – where research of the world was in motion. The moon landing had yet to happen in 1969, but the possibility of being able to explore the outskirts was already in full experiment.

Of Stars and Men (1961) – John Hubley

As well as documenting findings, Animated Documentaries could address situations on such as political issues, illnesses, and other sensitive or complicated topics.

I was completely inspired by Tim Webb‘s A is for Autism (1992), it was informing and visually appealing; complimented with experiences of people that not everyone gets to spend time with. It showed how art-forms can be a way to channel information into chew-able pieces. Also, what professor said – The power is all there (The voices and drawings of the children with Autism), Tim Webb took it and articulated it to become something that blesses all sides that are involved.

Ryan (2004) – An animated documentary about Ryan Larkin, by Chris Landreth. It records Larkin’s difficult situations in his life, and also the encouragement from people around him. It includes mentions of his award winning creations, Walking (1968) and Street Musique (1972).

Sheila M. Sofian
Truth has Fallen (2013) – Puts into light of the twisted injustice in America, using animation as a tool to help viewers realise problems of the world.

Sheila SofianManga! (1985)

Major Post 15: Annie May

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Today’s highlight is Osamu Tezuka – “The God of Manga” who created Astroy Boy and Black Jack. Tezuka sees animation and manga as a form of art to convey messages, and without holding back he is open to explore serious and mature themes in his animation – a noticeable difference between Western and Asian Animation.
Following the timeline, 1960s Japanese animation was the rising of the television era. It was a large contributing factor for mass animation, and was distributed out towards different countries.
In 1970s, sports-orientated production became the new hype. After the sports-frenzy, cinematic elements became a prominent factor. They sought to convince audiences how relatable the main character actually is, creating some sort of emotional connection, which attracts many viewers.

In 1973, Tezuka Production was founded. Most of his animations reflected his values which includes; peace, love for nature and social participation.
He questions the function of story-telling in an animation, seen especially in Jumping (1984) which portrays a a rather uncanny theme, despite its fun and outgoing impression. We see everything in the unknown character’s point of view – with no sign or clue of who this character is, until at the very end, we hear a relieved sigh that slightly reveals a part of the character, (I feel like its the audience themselves as they echo their sigh).

Another big influencer was The Animator’s Club in the 1960s, founded by the first three generation of japanese independent animation artist: Yoji Kuri, Ryohei Yanagihara and Hiroshi Manabe. They explored styles and found inspiration in “Saul Bass” and Norman McClaren films.
Yoji Kuri was very experimental in surreal composition, and distracting audio in his works. He conveyed mature-themes through animation – for example “AI”(1965); exploring the relationship between men and women, and more specifically, women’s desire for men and subtly suggests the manipulation of women over men. This theme was repeated in his work “Human Zoo”, in which his funky characters (male and female in a cage) portrayed consistently how men was the animal – the female was the zoo tamer.

Moving back to a more linear storytelling format, we looked at Tadahito Mochinaga and Kihachiro Kawamoto, who were both Japanese pioneers of puppet-animation, . Michinaga had also large influence in Chinese Animation – he had good friendship with the Chinese animators, as he worked in Xinjing, China in 1945.
We also briefly looked at large influencers like Katsuhiro Otomo (Akira [1989]) and Hayao Miyazaki, and Satoshi Kon who continues to inspire many young future generations.

Osamu Tesuka: Jumping (1987)
Broken don film
Yoji Kuri: Ironic storytelling – AOS (1964), AI (1965)
TadahitoMochinaga
Kihachiro Kawamoto: coffee break
Katsuhiro Otomo: Akira, Memories (1995)
Hayao Miyazaki
Satoshi Kon
Koji Yama – Mt.Head

Major Post 14: Old japanimation

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First Generation of Animators in Japan
Which includes Seitaro Kitayama, Oten Shinokawa, and Jun’ichi Kouchi.
They mostly worked with cut-out, silhouettes due to limited budget and had to work efficiently if they wanted to gain profit. Noburo Ofuji, Jun’ichi’s apprentice was also an influential animator, similarly primarily working with cut-outs.

During the war around 1930s, propaganda films were often featured. Animation was a tool for political controversy, to educate and to spread news about the war. in Momotaro (1918) by Seitaro Kitayama showcased a “war hero” character to encourage and build people’s hope. It was also a first to be shown on TV abroad.

After the war around the 1940s, another rising animator, Kenzo Masaoka, who explored cel-animation production founded Nihon Douga, which is now known as Toei Douga. He made Kumo to Chulip (1943), which was delightful to watch. It had sweet old japanese nursery songs that kept it engaging, and a simple story plot.

Major Post 13: Asianimation

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It was super fun looking at less main-stream animations apart from the Western and US, and diving into Chinese animation. I thought it was interesting how many adaptations of the same story exist; like remakes of Godzilla or King Kong, but with “The Journey to the West” and “Nezha”.

Many animations used Chinese Ink as their medium, giving each one a soft, elegant texture. Therefore, it was fitting that calm and slow pacing was used often.

The first artist of the day is Wan Brother, one of the earliest animators in China, who was inspired a lot by the US and has Snow-white/Disney vibes seen in their layout, set-up or background. Again, he worked with ink and used Rotoscoping which was also inspired by the US.

In 1956, a new movement began called the Hundred Flowers Campaign, which was to lift the restrictions felt imposed upon Chinese intellectuals, to stir up socialism and thus grant greater freedom of thought and speech.
It brought up the opportunity to create something new and original to represent China.
The name of the movement originated from a poem: “Let a hundred flowers bloom; let a hundred schools of thought contend” (百花齐放，百家争鸣, Bǎihuā qífàng, bǎijiā zhēngmíng).
 “The policy of letting a hundred flowers bloom and a hundred schools of thought contend is designed to promote the flourishing of the arts and the progress of science”. – Mao Zhedong.
We can definitely admire the initially pure intentions to try and build creative freedom in China, and it’s something that’s worthwhile to remember and be grateful of.
It makes me curious to: if China had carried on developing their style, what would that look like?

Extra class notes:
Te Wei – Founder of Shanghai Arts and Film Studio!
Chinese manhua artist and animator, Developed chinese ink-wash animation
Studied in Changchun, Tadahito Mochinaga
Tadpoles Looking for Their Mama (1960) – Te Wei
Yu Zheugang A Clever Duckling (1960) an origami
A-Da/ Xu Jinqin –
Wan Brother:
Princess Iron Fan (1941)
Uproar in Heaven (1964) mixes in Chinese Opera make up on their characters.
Shanghai Arts and Film Studio, first coloured chinese animation (1956) Why is the Crow Black-coated.

Major Post 12: Czech Animation

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I thoroughly enjoyed watching the Czech Animations – a lot of them uses stop-motion and a variety of different objects, allowing for more experimental and unexpected movements.

Two, out of many, highlights:
Ruka the Hand (1965) by Jiri Trnka had heavy symbolization within its simple story plot. An interesting character – The Hand; represented many things, including the aspect of control. The message is relevant to everyone who has experienced some sort of control or manipulation, therefore, the audience would be able to relate to it.

Jan Švankmajer
Dimensions of Dialogue (1982) – looks at miscommunication, irresponsibility, inability to work together, and disagreements, portrayed in such a visually appealing way. It uses suitable pairings, such as a pencil and a pencil-sharpener or bread and butter, to help understand compatible communication, yet then starts mixing it up pairings (e.g. pencil-sharpener plus bread), giving us a visual image of what miscommunication looks like.
It is such a smart way to convey an issue we all experience, that I feel like people could learn, or at least be aware of their actions, from watching this.

Extra Class Notes:
Hermina Tyrlova – Czech director, animator, writer.
Ferda Mravenec
Jiri Trnka – Master of the wooden puppet style, was previously a famous illustrator.
Fyodor Khitruk – Russian Animator
Ostrov (1973)
Yuri Norshteyn – Russian Animator
Hedgehog in the Fog (1975)
Miyazaki mentioned his works to be one of his fave.

Major Post 11: Different forms of animation

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Light and Shadow

This class we learnt about Alexandre Alexeieff who invented Pinscreen, which is a method that uses a lot of pins with different lengths in protrusion to create light and dark spaces. This technique allows for more flexibility in lighting and three-dimensional space – an aspect that requires more time in Cell Animation.

His works: The Nose (1963)
NFB: Mindscape (Pinscreen too)

Our second artist is Caroline Leaf – one of the earliest animators who used sand to animate. She had a low artistic background but during one of her art classes where her teacher asked them to bring stuff in, she brought in sand. Leaf carried on experimenting with sand and her technique has certainly inspired many more down the generation of artists – for example:

Which is sOO cool and expressive. I think similar to the Pinscreen technique – light and shadow and three dimensional space is something that’s achieved faster too.

The last artist that I will mention here is William Kentridge, a South African Artist, famous for his prints.
We had noticed in class, how most experimental animators have Fine Art backgrounds, and Kentridge is another example of that transition in professions.
His piece, Felix in Exile (1994) expresses social issues in his country, South Africa, and explores the physical and mental struggle of those times.
A rather uncanny source of his inspiration for his creations comes from using “other people’s pain as rare material” – Kentridge.
This stood out to me because at my first impression it sounded rather inappropriate and possibly insensitive, yet actually, with further thought, with appropriation perhaps the artists can portray it in a way that could be healing, or at the least, acknowledged.

In this video, he talks about how he uses charcoal because “you can change charcoal as quickly as your mind changes” pulling in the idea of spontaneity again; a mind-set similar to our previous artist, Norman McClaren.

Class notes:
William Kentridge
Felix in Exile (1994)
History of the Main complaint (1997)
Eyewash (1959) – Rober Breer
Fuji (1974)
Jake’s Professor – COMMUTER – Matt Patterson
George Dunning – Yellow Submarine (1968) designed by Hienz Edelman
Also Founder of TVC in London.
Paul Driessen –
The End of World in Four Season – multiple frames (like a comic book style) moving at the same time.
The Killing of an Egg (1977)
Frederic Back – Cel overlays. Colouring pencils on frosted cells.
Frederick Back – Crac (1981)

Major Post 10: Stop-Motion

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We shifted from looking at using single lines to using objects, and more 3D/manual based forms of animation (stop-motion). The class screened various influential animators who demonstrated foundational techniques fo future artists to build on.

Artists include:
Arthur Melbourne-Cooper – Matches Appeal (1899)

Ladislaw Starewicz – Soviet animator
Starewicz had a scientific background, and his work stemmed from wanting to document two stag beetles in battle.
His contribution in stop-motion techniques has been inspiring many to continue to develop the possibilities with stop-motion.

Willis O’Brien
O’Brien started the merge of live-action and stop-motion; basically the beginning of VFX.
Very impressively, one of his first works was a adaptation of King Kong, called “Mighty Joe Young” (1949). He named his style of work Dynamation, which kick started off the possibility of all future science-fiction anomalies, greek mythical tales, and superhero action.

George Pal – A Hungarian animator and filmmaker (1939).
He started Puppetoons – which the technique that replaces facial expressions on a puppet. The technique is continued by LAIKA in Coraline, ParaNorman, The Boxtrolls.
We watched his work, “Jasper And The Haunted House” (1942) which demonstrated a lot of cinematography. He was very aware of lighting, colour, perspective and composition – a step up to quality entertainment.

Professor also mentioned NFB again, a company that sponsored many of these artists. Channel4 in UK is a similar platform that carries on supporting contemporary artist creativity, especially in the commercial/T.V. world.

Sammy Liu

Project03: Pixelation| W.I.P.

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Our creative process/brainstorming

We initially took inspiration from music videos that used pixilation/stop motion, such as OK GO’s ‘End Love’, ‘Last Leaf’, and Bombay Bicycle Club’s ‘Home by Now’. Choosing music was the first step; we wanted something punchy and energetic to match the pixilation style. We decided on Time Voyage by Just A Gent because it both had a punchy beat and title/lyrics that alluded to a story. In fact our storyline was inspired by the title: a sci-fi space journey telling of an alien abduction.

Prop Making
We scripted the making of the props to be part of the film. It was a challenge to figure out the shots while also actually needing to complete the props. We used cardboard, tinfoil and construction paper as the main materials, and ink and sharpies to draw and color.

Filming

We had an extremely ambitious trip – to film on the busy streets of Sham Shui Po. It allowed to overcome our fears and insecurities of doing art/drama in public.
_(:з」∠)_

We got a lot of stares from people in cars and buses that passed by, however, even with those many distractions we carried on persevering as a group; discussing and coming up with solutions to unpredictable problems.

Chandi Marsh
Sydney McPherson
Wendy Kong
Claudia Lau
Sammy Liu
(*¯︶¯*)

Major Post 9: Subconsciousness and Consciousness

Posted on by Sammy Liu

We watched Norman McClaren’s Documentary and it brought up a lot of noteworthy, inspiring nuggets and food for thought. He is an experimental filmmaker who was largely inspired by Scottish weather in its gentle changes in lighting, and nature, which he said was made by the ‘Original Creator’ – a statement which I found touching and intimate.

Like many artists, McClaren was a deep, soul-digging person who believed that Abstract Film frees you from constrictions of logic. He described animation as something which “rejoiced that it was drawn by just a line and that it could move”, and that abstract films were like watching thoughts.
He says he wouldn’t know what was gonna happen in 10 mins from now

“Subconscious plays a very important role.”
His thoughts included ideas such as how our Subconscious probably has the whole thing [scene] already, but it’s Consciousness’s job to put it into the real world yet, it could be contaminated by conscious’s logic, doubts or worries.
McClaren’s thoughts reminded me of how animators, or humans in general live in a space where they have the ability to control and yet, have so many other aspects that are out-of-control too. It seems like animation is a format where we can play around with those aspects.