Wednesday, 10 September 2014
ZOETROPE.
A zoetrope is one of several pre‑cinema animation devices that produce the illusion of motion by displaying a sequence of drawings or photographs showing progressive phases of that motion. Wikipedia
A zoetrope is one of several pre-cinema animation devices that produce the illusion of motion by displaying a sequence of drawings or photographs showing progressive phases of that motion. The name zoetrope was composed from the Greek root words ζωή zoe, "life" and τρόπος tropos, "turning".
The zoetrope consists of a cylinder with slits cut vertically in the sides. On the inner surface of the cylinder is a band with images from a set of sequenced pictures. As the cylinder spins, the user looks through the slits at the pictures across. The scanning of the slits keeps the pictures from simply blurring together, and the user sees a rapid succession of images, producing the illusion of motion. From the late 20th century, devices working on similar principles have been developed, named analogously as linear zoetropes and 3D zoetropes, with traditional zoetropes referred to as "cylindrical zoetropes" if distinction is needed.
A zoetrope is one of several pre-cinema animation
The zoetrope consists of a cylinder with slits cut vertically in the sides. On the inner surface of the cylinder is a band with images from a set of sequenced pictures. As the cylinder spins, the user looks through the slits at the pictures across. The scanning of the slits keeps the pictures from simply blurring together, and the user sees a rapid succession of images, producing the illusion of motion. From the late 20th century, devices working on similar principles have been developed, named analogously as linear zoetropes and 3D zoetropes, with traditional zoetropes referred to as "cylindrical zoetropes" if distinction is needed.
Throughout its thirty-year history American Zoetrope has sought new creative possibilities in technology. We continue to produce films and offer post-production services from our headquarters, the historic Sentinel Building in San Francisco's North Beach. And we continue to explore the creative possibilities of new technology.
Within this website is one such experiment, the Zoetrope Virtual Studio, a complete motion picture production studio on the Web. It offers powerful collaborative tools for writers, directors, producers and other film artists. It also includes a number of film-related discussion sections and chat rooms. Join the Virtual Studio.
A zoetrope is one of several pre-cinema animation
The zoetrope consists of a cylinder with slits cut vertically in the sides. On the inner surface of the cylinder is a band with images from a set of sequenced pictures. As the cylinder spins, the user looks through the slits at the pictures across. The scanning of the slits keeps the pictures from simply blurring together, and the user sees a rapid succession of images, producing the illusion of motion. From the late 20th century, devices working on similar principles have been developed, named analogously as linear zoetropes and 3D zoetropes, with traditional zoetropes referred to as "cylindrical zoetropes" if distinction is needed.
A device which one historian of Chinese technology called "a variety of zoetrope" was created around 100 BC by the inventor Ding Huan (丁緩),[1] but the exact nature of that device, which is commonly misreported in derivative sources, and the historian's definition of "a variety of zoetrope" are both very unclear.[2]
The basic drum-like form of the zoetrope was created in 1833[3] or 1834 by British mathematician William George Horner, who was aware of the recently invented and closely related phenakistoscope disc.[
The zoetrope works on the same principle as the phenakistoscope but is more convenient and allows the animation to be viewed by several people at the same time. Instead of being radially arrayed on a disc, the sequence of pictures depicting phases of motion is on a paper strip. For viewing, this is placed against the inner surface of the lower part of an open-topped metal drum, the upper part of which is provided with a vertical viewing slit across from each picture. The drum, on a spindle base, is spun. Due to persistence of vision, viewers looking in through the passing slits see each picture on the strip seem to be suddenly replaced by the next in the sequence. The phi phenomenon is responsible for the illusion of animation. The faster the drum is spun, the smoother the animation appears.
The earliest projected moving images were displayed using a magic lantern zoetrope. This crude projection of moving images occurred as early as the 1860s.
The praxinoscope was an improvement on the zoetrope that became popular toward the end of the 19th century,[6] displacing the zoetrope for practical uses; a magic lantern praxinoscope was demonstrated in the 1880s.
For displaying moving images, zoetropes were displaced by more advanced technology, notably film and later television. However, in the early 1970s, Sega used a mechanism similar to an ancient zoetrope in order to create electro-mechanical
Since the late 20th century, zoetropes have seen occasional use for artwork, entertainment, and other media use, notably as linear zoetropes on subway lines, and from the early 21st century some 3D zoetropes.
- a 19th-century optical toy consisting of a cylinder with a series of pictures on the inner surface that, when viewed through slits with the cylinder rotating, give an impression of continuous motion.The zoetrope (pronounced ZOH-uh-trohp), invented in 1834 by William George Horner, was an early form of motion picture projector that consisted of a drum containing a set of still images, that was turned in a circular fashion in order to create the illusion of motion. Horner originally called it the Daedatelum, but Pierre Desvignes, a French inventor, renamed his version of it the zoetrope (from Greek word root zoo for animal life and tropefor "things that turn.")A zoetrope is relatively easy to build. It can be turned at a variable rate to create slow-motion or speeded-up effects. Like other motion simulation devices, the zoetrope depends on the fact that the human retina retains an image for about a tenth-of-a-second so that if a new image appears in that time, the sequence was seem to be uninterrupted and continuous. It also depends on what is referred to as the Phi phenomenon, which observes that we try to make sense out of any sequence of impressions, continuously relating them to each other.The visual effect created by a zoetrope (or zoopraxiscope) is still used today to createanimated GIFs and video display technologies such as streaming video, which essentially create an effect of motion by presenting discrete but closely-related images one after the other.The zoetrope is one of several animation toys which were invented in the
19th century, as people experimented with ways to make moving pictures.
The zoetrope appeared first in England in 1834, then France in 1860 and
finally the United States in 1867. The "Daedatelum" was invented by William
George Horner in 1834 and renamed "Zoetrope" by French inventor, Pierre Desvignes. In "zoetrope" you might recognize the root word "zoo" from a Greek word meaning animal or life. "Trope" is also from Greek and refers to things that turn.ZOETROPEVideo Example of a zoetropeThe zoetrope was invented in 1834 by William George Horner, it was one of theearliest forms of a motion picture projector that consisted of a drum containing a set of still images, that was turned in a circular fashion in order to create the illusion of motion.Zoetrope's consist of a cylinder with slits cut vertically in the sides. On the inner surface of the cylinder is a band with images from a set of sequenced pictures. As the cylinder spins, the user looks through the slits at the pictures across. The scanning of the slits keeps the pictures from simply blurring together, and the user sees a rapid succession of images, producing the illusion of motion.A zoetrope is relatively easy to build. It can be turned at a variable rate to create slow-motion or speeded-up effects. Also the visual effect created by a zoetrope is still used today to create animated GIFs and video display technologies such as streaming video, which essentially create an effect of motion by presenting discrete but closely-related images one after the other.a zoetrope is a device that has pictures or photos on and slits on the outside.when its spun, it produces an illusion of movement when the user looks at the photos or pictures through the slitsit was invented in 1834 by William Horner. he orgnially called it the Daedalum (wheel of the devil) His invention was strangely forgotten until 1867. its the third majoy optical toy.a sequence of hand draw pictures were placed around the inner bottom of the drum and slots were then cut equally on the outer surface of the drum. To create the illusion of the pictures moving, you drum was span. The faster it was span, the smoother the pictures moved. the scanning of the slits, kept the images from blurring togetherwhen the praxinoscope was invented, the zoetrope got declinded. the praxinoscope offers a clearer, brighter image, but then, in 1889, George Eastman invented flexible photographic film, which allowed a lot of film to be held on one reel. zoetrope picture strips were limited to about 15 pictures per strip, devices using reels of the new flexible film could present longer animations to viewers.
then in 1895, modern cinema was made. Once moving pictures could be projected on a large screen, optical toys such as the zoetrope became used less and less frequently.
There is also 3D zoetrope that makes static 3D sculptures appear to move and come to life. Using strobe LED lights and 18 characters, each in a different pose, on a rotating platform. The 3D Zoetrope recreates the effect of looking through slits of the original zoetropes. The models are mounted on a rotating base and the light flashes on and off with a small fraction of a second as each model passes the same spot. Toy Story was made by using 3D zoetrope.
homework on praxinoscope
praxinoscope
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The Praxinoscope, invented in 1877 by the Frenchman, Emile Reynaud (1844-1918), is a precursor of the moving picture. Here, a band of pictures, each slightly different from its neighbor, is placed inside a rotating drum, quite similar to the arrangement of pictures in the Zoetrope. In Reynaud's design the pictures were viewed in succession by reflection from a series of narrow vertical mirrors placed at the center of the drum. The drum is spun by hand, and the horse appears to gallop.
http://physics.kenyon.edu/EarlyApparatus/Optical_Recreations/Praxinoscopes/Praxinoscopes.html
http://www.mhs.ox.ac.uk/exhibits/fancy-names-and-fun-toys/praxinoscope/
videos:
In 1876 he decided to make an optical toy to amuse a young child. Improving on the Phenakistiscope and Zoetrope, Reynaud devised the Praxinoscope (patented December 1877).
Consisting of a cylinder with a band of coloured images set inside, a central drum of mirrors was set exactly equidistant between the axis and mirror drum. As the toy revolved the reflection of each picture seen in the mirror drum appeared stationary. The images blended to give a clear, bright, undistorted moving picture without flicker. He produced the praxinoscope commercially, receiving an Honourable Mention in the Paris Exposition of 1878.
The following year Reynaud added a patent supplement for an improvement, the Praxinoscope Theatre. The mirror drum and cylinder were set in a wooden box with a glass-covered viewing aperture, reflecting a card printed with a background.
The moving subjects - a juggler, clowns, a steeple-chase - were printed on a black band, and appeared superimposed on a suitable scene.
A further development was the Projection Praxinoscope (below), which used a series of transparent pictures on glass an oil lamp illuminated the images, and the mirror reflections passed through a lens onto a screen.The same lamp projected a static background, and once again the moving pictures were seen in an appropriate setting.
In December 1888 Reynaud patented his Theatre Optique , a large-scale Praxinoscope intended for public projection.(see next page). By using spools to feed and take up the extended picture band, sequences were no longer limited to short cyclic movements
The Red Raven Magic Mirror and its special children's phonograph records, introduced in the US in 1956, was a 20th-century adaptation of the praxinoscope. The Magic Mirror was a sixteen-sided praxinoscopic reflector with angled facets. It was placed over the record player's spindle and rotated along with the 78 rpm record, which had a very large label with a sequence of sixteen interwoven animation frames arrayed around its center. As the record played, the user gazed into the Magic Mirror and saw an endlessly repeating animated scene that illustrated the recorded song. In the 1960s, versions of the Red Raven system were introduced in Europe and Japan under various names—Teddy in France and the Netherlands, Mamil Moviton in Italy, etc
The Praxinoscope, invented in 1877 by the Frenchman, Emile Reynaud (1844-1918), is a precursor of the moving picture. Here, a band of pictures, each slightly different from its neighbor, is placed inside a rotating drum, quite similar to the arrangement of pictures in the Zoetrope. In Reynaud's design the pictures were viewed in succession by reflection from a series of narrow vertical mirrors placed at the center of the drum. The drum is spun by hand, and the horse appears to gallop.
http://physics.kenyon.edu/EarlyApparatus/Optical_Recreations/Praxinoscopes/Praxinoscopes.html
http://www.mhs.ox.ac.uk/exhibits/fancy-names-and-fun-toys/praxinoscope/
A band of pictures is placed inside a shallow outer cylinder, so that each picture is reflected by the inner set of mirrors. The number of mirrors is equal to the number of pictures, and the images of the pictures are viewed in the mirrors. When the outer cylinder rotates, the quick succession of reflected pictures gives the illusion of a moving picture.
Using this principle, Reynaud found a way to project the series of pictures onto a screen. He called this the "Theatre Optique." A standard praxinoscope, like the one above, can only accomodate a second or two of animation because of the limited number of pictures it contains. Reynaud's "Theatre Optique" used a long roll of paper to increase the number of pictures, and was therefore able to create a much longer show for an audience.
videos:
Using a drum design which revolved, as with the Zoetrope, the images were viewed reflected in a prism of mirrors which rose from the centre of the drum. Each mirror as it passed flashed a clear image opposed to it.
The result was perfect animation without the loss of luminosity in movement which was experienced with the Zoetrope.
The next step, as Reynaud saw it, was to adapt his existing device so that the animated pictures could be projected. The replacement of the opaque drawings with transparent drawings meant that light could be shone through them. The light which shone through the pictures was reflected by the mirror prism and focused onto a screen through a lens.
In 1872 Reynaud took this idea and turned it into theatrical entertainment. Up until this point animation toys had been limited to repetitive images. Reynaud noted this and devised a method of painting a series of pictures on small glass plates which were joined together in a single flexible strip. The animated characters were projected onto a screen from behind.
Reynaud exhibited his projecting Praxinoscope giving public performances using long broad strips of hand painted frames.
The effect he achieved was successful but was jerky and slow. In addition the labour required to draw the strips meant that Reynaud’s films could not easily be reproduced.
Reynaud’s Theatre Optique came remarkably close to the cinema - all that it lacked was the addition of photography.
In 1876 he decided to make an optical toy to amuse a young child. Improving on the Phenakistiscope and Zoetrope, Reynaud devised the Praxinoscope (patented December 1877).
Consisting of a cylinder with a band of coloured images set inside, a central drum of mirrors was set exactly equidistant between the axis and mirror drum. As the toy revolved the reflection of each picture seen in the mirror drum appeared stationary. The images blended to give a clear, bright, undistorted moving picture without flicker. He produced the praxinoscope commercially, receiving an Honourable Mention in the Paris Exposition of 1878.The following year Reynaud added a patent supplement for an improvement, the Praxinoscope Theatre. The mirror drum and cylinder were set in a wooden box with a glass-covered viewing aperture, reflecting a card printed with a background.
The moving subjects - a juggler, clowns, a steeple-chase - were printed on a black band, and appeared superimposed on a suitable scene.A further development was the Projection Praxinoscope (below), which used a series of transparent pictures on glass an oil lamp illuminated the images, and the mirror reflections passed through a lens onto a screen.The same lamp projected a static background, and once again the moving pictures were seen in an appropriate setting.
In December 1888 Reynaud patented his Th
The Red Raven Magic Mirror and its special children's phonograph records, introduced in the US in 1956, was a 20th-century adaptation of the praxinoscope. The Magic Mirror was a sixteen-sided praxinoscopic reflector with angled facets. It was placed over the record player's spindle and rotated along with the 78 rpm record, which had a very large label with a sequence of sixteen interwoven animation frames arrayed around its center. As the record played, the user gazed into the Magic Mirror and saw an endlessly repeating animated scene that illustrated the recorded song. In the 1960s, versions of the Red Raven system were introduced in Europe and Japan under various names—Teddy in France and the Netherlands, Mamil Moviton in Italy, etc
Thursday, 4 September 2014
Tuesday, 2 September 2014
unit 33 assignment 1
principles of animation
The most known principles of animation were developed by the "old men of Walt Disney" ; frank Thomas and Ollie Johnson during the 1930's. the principles came as a result of reflection about their practiced and through Disney's desire to make a way of animation that appeared more realistic in terms of how things move and how that movement might be used to express character and personality. some of those principles are:
squash and stretch :This action gives the illusion of weight and volume to a character as it moves. also squash and stretch is useful in animating dialogue and doing facial expressions.
it is used in all forms of characters in animation from bouncing a ball to the body weight of a person walking.
Anticipation: This movement prepares the audiences for a major action the character is about to perform, such as stating to run, jump as exchange expression. a dancer does not just leap off the floor. a backwards motion accures before the forward action is executed.
Staging: A pose or action should clearly communicate to the audience the attitude, mood, reaction or idea of the character as it relates to the story and continuity of the storyline. the effective use of long, medium or a close up shot aswell as camera angles also helps telling the story. also staging directs the audience's attention to the story or idea being told, care must also be to0 key in background design so it isn't obscuring the animation or competing with it due to excess detail behind the animation.
there are other principles such as: follow through and overlapping action which accures when the main body of the character stops but all other parts continue to catch up to the main mass of the character, such as arms, long hair, clothing or a long tail. other principles are slow out and slow in, arcs, secondary action, timing, exaggeration, solid drawing and appeal. a;; principles are there to make the final animation a great artistic and better product in every single way.
HISTORY
Stop motion animation has been around for a long time, almost as long as traditional film-making. Originally stop motion involved animating objects which included the animated movement of any "non-drawn" objects such as toys, blocks or any rigid inanimate object you care to mention. This was quickly followed by cel animation. And then animators experimented with clay animation and puppet animation which is what you may be familiar with in Wallace and Gromit and so forth.
Some early examples of stop motion films and techniques can be seen in the "The Humpty Dumpty Circus" (1898) and in "Fun in a Bakery Shop" (1902). In 1907 "The Haunted Hotel" was a very successful movie with the cinema audience of the time. In 1912 one of the first clay animation movies using stop motion was released to great critical acclaim. It was called "Modelling Extraordinary" In 1916, the first woman animator, Helena Smith Dayton, began experimenting with clay stop motion. She released her first film in 1917, Romeo and Juliet. December of 1916, brought the first of Willie Hopkin's 54 episodes of "Miracles in Mud" to the big screen
Stop-motion has changed a lot since the early 20th century. In fact, stop-motion is rarely used anymore, only in children's TV shows.
With the development of digital 3D animation, animating a 3D character in a film has become much easier and faster, which is favoured by the industry. 3D animation allows unreal characters to seem to be alive.
Here are different types, animators and technologies of stop motion:
The phenakistoscope
The phenakistoscope made is 1832
Zoetrope
Zoetrope made in 1833-1834
The praxinoscope
the praxinoscope made in 1877
Willis H. O'brien
https://docs.google.com/document/d/1oORGuJfAaO9E8QXawJfwb-M6B0SkFRNeaOn897o7FBI/edit?usp=sharing
kinetoscope
Kinetoscope developed in 1889
Ray harryhausen 1920
https://docs.google.com/document/d/1BGCqJQpRvG4y6SkkNwJOUPzOAELeeFzPbOBFhAOvd24/edit?usp=sharing
King kong(1933)
https://www.youtube.com/watch?v=SOMKnhN7ABsDirected by merian c. Cooper
Targetted audience: young adults and adults due to the violence and the fact that it could be scary to younger audience.
jan svankmajor
jan svankmajor began making his short films in 1964
lee hardcastle
lee hardcastle born in 1985
Wallace and gromit direct by nick park in 1989
https://www.youtube.com/watch?v=CJDhmlMQT60
Targeted audience: children from and teenagers, its humour and charm are appealing to kids from the age of 3 up to 12 or even more.
Modern technology in stop motion 1993
https://docs.google.com/document/d/1c4h65UcU-pxTQio14Iic7bJ9hSn-vavSWd8d_HKGhl4/edit?usp=sharing
Gumby (1995)
https://www.youtube.com/watch?v=y2MdacVPVik
Produced by Warner vision inch
Trageted audience: children of a young age 1 to 5
Paranormal(2012)
https://www.youtube.com/watch?v=hgwSpajMw3s
Produced by focus features
Targetted audiences: children from the age of 5 and young teenagers, the narrative and setting of the story is mainly aimed at teenagers and kids due to the main characters age and the fact that he goes school.
the pirates in an adventure with scientist 2012
https://www.youtube.com/watch?v=Ho08smK_zSc
produced by Aardman animation in partnership with sony pictures animation
directed by peter lord
audience: children 3+ and 12+, the reason is because its a good enjoyable stop motion thats enjoyable to children and also young teenagers because of its humour.
twitter animation improvisation 2009
https://www.youtube.com/watch?v=C068fLwk9Aw
created by jelle vandan
targeted audience 12+ , young people use twitter alot along with other social networks but so do adults so the video is aimed at teenagers and adults.
paranorman
The targeted audience for paranormal is children and teenagers, but adult can enjoy watching it too. it is an adventure and comedy animation. paranorman uses the animation principles to create different effects on the audience. it mostly uses the principle of gravity, at the 26th second of the clip the main character norman gets pushed and falls to the ground, their use of the gravity principle has an effect of the audience as it gives the animation a realism and showcases the danger of being pushed. the bully pushes norman and he falls, the audience relate to that and it feels more real because a certain kid in the audience that has experience with bullies instantly relates to that more than he would if norman got pushed and floated in the air like a ballon, that is the effect of the gravity principle. another principle the use is secondary action.
At the thirteenth second , norman's father is in the middle of talking whiles fixing the light. as he speaks, his legs are balancing him on the ladder, his left hand is fixing the lamp and his right hand is holding an object and making gestures as he talks. the effect of secondary action humanise the character and adds realism to the animation. as humans we multitask a lot; we drink coffee whiles reading a gossip text from our lousy friend, talk not only with our mouths but with our arms, hands, facial expression which sometimes makes us look crazy and in need of a mental checkup but its human nature, those particular secondary action to norma's father's character added realism and humanised him so the audience can not only relate but also have the illusion that he is real.
owl city-fireflies fan made stopmotion video
https://www.youtube.com/watch?v=lkAVQfS8ZEw
the fan-made owl city video for their hit single "fireflies"uses both real people and objects in their stopmotion. in terms of the principles of animation, the makers of the video get brave and bold by breaking the principles of animation at the 30th second by making the character walk in an unnatural way. rather than following the arc principle, the character appears to be sliding everywhere as her way of walking, its effect on the audience is that it challenges them but also grabs and draws their attention in the minute they see the unnatural walk of the character.
The video does follow the secondary action principle at the 12th second as she holds the board with the magical eye, she also moves her arm and head. it's effect on the audience is that it brings back the realism to the character after having lost it by her unusual way of walking.
After breaking the arc rule by the character's walk, the video decides to follow it as the third minute and 34th second when she has a drink and her arm movement isn't unnatural. this of course that has a positive effect on the audience because not only does it add realism to the effect and humanise her even more which makes her more relatable to the audience.
the very noticeable animation principle in this video is the principle of time, the makers of the video didn't use a lot of frames per second so the video looks jumpy, its effect on the audience is that it makes it clear to them that this is in fact a stopmotion video.
twitter animation improvisation
https://www.youtube.com/watch?v=C068fLwk9Aw
the twitter animation improvisation uses the time animation principle very effectively by using a lot of frames per minute which makes the video appear much more smoother, it has a positive effect on the audience as they feel impressed by it. the video uses sound to create anticipation in the audience; at the 37th second , the soundtrack changes to identify danger and also reveal the characteristics of the sun glasses in the video which is the antagonist of the story, the music played before the glasses appear gives the impression to the audience that the sun glasses are the antagonist of the story.
the development of stopmotion specific from your timeline like king komg =cc
over the years the quality of stop motion has changed dramatically and amazingly. the cinematography behind stop motion in terms of quality and visuals has improved a lot thanks to the development in equipment such as; high definition cameras and more advanced stop motion software such as I stop motion.
one of the biggest improvements is in the movements of the characters. when stop motion was still new in the early years, the movements of characters weren't smooth or impressive at all, they were rather jumpy and shaky. when you watch the earliest episodes of Wallace and gormit from 1989 or the original king Kong from 1933, each movement from the characters doesn't flow smoothly, but in 2012's stop motion film, paranorman, you can notice some improvements. the makers of the stop motion have noticed that adding more frames to each second would improve the smoothness of character movements and that discovery became a game changer.
the improvement of set design has improved a lot of the years, once again notice in Wallace and gormit at the second and minute and 30th second the lack or realism in the set. but over the years the sets have gotten much more realistic and better in terms of quality. during paranorman at the 30th second the set design is incredibly impressive and looks much more realistic because of its quality in both design and cinematography.
one of the advantages todays directors have is the use of green screen, they can computerise their sets and make everything looks magical and much more realistic which is one advantage the older stop motion never had.
the movements of the characters have improved, the movements of the characters in 2012' paranormal are much more smother than the movements of 1933's king kong and the mean tyrex.
during paranorman at the 23th second, the family of Norman are talking and you can tell that they're movements from their mouths, facial expression and other secondary action are more much smother and flows better than in king kong during the fight at the 19th second as him and the Terex are having a wrestling match.
Other than the movements of characters , the set and character designs have improved impressively over the years. comparing the 1989 Wallace and Gormit to their latest episode from 2014, you see alot of improvement not only in the miser e scene but also character sculpture. At the second minute and 34th second of one of the latest Wallace and gormit episodes https://www.youtube.com/watch?v=3NKLjm2qoU0 as they sit on the dinner table, the set design is realistic and the characters have a great appearance compared to the 1989 episode where the set designs of every scene aren't realistic or creative and the characters don't look as professional as they do in this time period.
genre, style and audience
claymation has always typically been or children with shows such as shaun the sheep ,Fifi and the flowertots and wallace and gormit. but thanks to youtube a lot of fan made videos created by fans of stop motion have taken over and both their genre and target audience varies more than ever before.
famous youtuber Lee Hardcastle known for his remake of famous scenes from movies has claymation videos such as a good clay to die hard which is an action video and its targeted audience is a much higher audience than children. claymation that was typically known to be for children is now for all types of audiences and genres. other genres such as fantasies are better used with some elements of a green screen and added video effects simply because the development in technology. stop motions such as paranorman are great examples of the use of visual effects in a stop motion film, https://www.youtube.com/watch?v=xlK99b8OQU4, notice at the 14th second the beautiful visuals that were created by visual effects, this has a great effect on the audience because it modernise the video whitch adds more relevance to it and makes it more enjoyable.
Another style of stop motion is live action. live action is quite the fascinating style simply because the freedom that comes with it, the director can literally flap his wings and not be afraid to fly with it because it isn't restricted to any type of audience. no one can guarantee when this freedom will last but stop motion makers sure are enjoying it whiles it lasts. videos such as bella, smart tech and owl city fireflies (fanmade video) are all live action stop motion but they all have different types of audiences; children, adults, teenagers, and the advantages of the directors is they don't feel restricted to any of those targeted audience or even breaking a stereotype by picking a certain audience over the other. long live live action stop motion.
i certify this work as my own
The most known principles of animation were developed by the "old men of Walt Disney" ; frank Thomas and Ollie Johnson during the 1930's. the principles came as a result of reflection about their practiced and through Disney's desire to make a way of animation that appeared more realistic in terms of how things move and how that movement might be used to express character and personality. some of those principles are:
squash and stretch :This action gives the illusion of weight and volume to a character as it moves. also squash and stretch is useful in animating dialogue and doing facial expressions.
it is used in all forms of characters in animation from bouncing a ball to the body weight of a person walking.
Anticipation: This movement prepares the audiences for a major action the character is about to perform, such as stating to run, jump as exchange expression. a dancer does not just leap off the floor. a backwards motion accures before the forward action is executed.
Staging: A pose or action should clearly communicate to the audience the attitude, mood, reaction or idea of the character as it relates to the story and continuity of the storyline. the effective use of long, medium or a close up shot aswell as camera angles also helps telling the story. also staging directs the audience's attention to the story or idea being told, care must also be to0 key in background design so it isn't obscuring the animation or competing with it due to excess detail behind the animation.
there are other principles such as: follow through and overlapping action which accures when the main body of the character stops but all other parts continue to catch up to the main mass of the character, such as arms, long hair, clothing or a long tail. other principles are slow out and slow in, arcs, secondary action, timing, exaggeration, solid drawing and appeal. a;; principles are there to make the final animation a great artistic and better product in every single way.
HISTORY
Stop motion animation has been around for a long time, almost as long as traditional film-making. Originally stop motion involved animating objects which included the animated movement of any "non-drawn" objects such as toys, blocks or any rigid inanimate object you care to mention. This was quickly followed by cel animation. And then animators experimented with clay animation and puppet animation which is what you may be familiar with in Wallace and Gromit and so forth.
Some early examples of stop motion films and techniques can be seen in the "The Humpty Dumpty Circus" (1898) and in "Fun in a Bakery Shop" (1902). In 1907 "The Haunted Hotel" was a very successful movie with the cinema audience of the time. In 1912 one of the first clay animation movies using stop motion was released to great critical acclaim. It was called "Modelling Extraordinary" In 1916, the first woman animator, Helena Smith Dayton, began experimenting with clay stop motion. She released her first film in 1917, Romeo and Juliet. December of 1916, brought the first of Willie Hopkin's 54 episodes of "Miracles in Mud" to the big screen
Stop-motion has changed a lot since the early 20th century. In fact, stop-motion is rarely used anymore, only in children's TV shows.
With the development of digital 3D animation, animating a 3D character in a film has become much easier and faster, which is favoured by the industry. 3D animation allows unreal characters to seem to be alive.
Here are different types, animators and technologies of stop motion:
The phenakistoscope
The phenakistoscope made is 1832
Zoetrope
Zoetrope made in 1833-1834
The praxinoscope
the praxinoscope made in 1877
Willis H. O'brien
https://docs.google.com/document/d/1oORGuJfAaO9E8QXawJfwb-M6B0SkFRNeaOn897o7FBI/edit?usp=sharing
kinetoscope
Kinetoscope developed in 1889
Ray harryhausen 1920
https://docs.google.com/document/d/1BGCqJQpRvG4y6SkkNwJOUPzOAELeeFzPbOBFhAOvd24/edit?usp=sharing
King kong(1933)
https://www.youtube.com/watch?v=SOMKnhN7ABsDirected by merian c. Cooper
Targetted audience: young adults and adults due to the violence and the fact that it could be scary to younger audience.
jan svankmajor
jan svankmajor began making his short films in 1964
lee hardcastle
lee hardcastle born in 1985
Wallace and gromit direct by nick park in 1989
https://www.youtube.com/watch?v=CJDhmlMQT60
Targeted audience: children from and teenagers, its humour and charm are appealing to kids from the age of 3 up to 12 or even more.
Modern technology in stop motion 1993
https://docs.google.com/document/d/1c4h65UcU-pxTQio14Iic7bJ9hSn-vavSWd8d_HKGhl4/edit?usp=sharing
Gumby (1995)
https://www.youtube.com/watch?v=y2MdacVPVik
Produced by Warner vision inch
Trageted audience: children of a young age 1 to 5
i
Paranormal(2012)
https://www.youtube.com/watch?v=hgwSpajMw3s
Produced by focus features
Targetted audiences: children from the age of 5 and young teenagers, the narrative and setting of the story is mainly aimed at teenagers and kids due to the main characters age and the fact that he goes school.
the pirates in an adventure with scientist 2012
https://www.youtube.com/watch?v=Ho08smK_zSc
produced by Aardman animation in partnership with sony pictures animation
directed by peter lord
audience: children 3+ and 12+, the reason is because its a good enjoyable stop motion thats enjoyable to children and also young teenagers because of its humour.
owl city- fireflies stopmotion video 2010
directed by andrew r Jones
Targeted audience :pop music fans , general public
mostly teenager and younger kids from 12+ because they are the main audience for pop music.
https://www.youtube.com/watch?v=lkAVQfS8ZEw
Targeted audience :pop music fans , general public
mostly teenager and younger kids from 12+ because they are the main audience for pop music.
https://www.youtube.com/watch?v=lkAVQfS8ZEw
twitter animation improvisation 2009
https://www.youtube.com/watch?v=C068fLwk9Aw
created by jelle vandan
targeted audience 12+ , young people use twitter alot along with other social networks but so do adults so the video is aimed at teenagers and adults.
paranorman
The targeted audience for paranormal is children and teenagers, but adult can enjoy watching it too. it is an adventure and comedy animation. paranorman uses the animation principles to create different effects on the audience. it mostly uses the principle of gravity, at the 26th second of the clip the main character norman gets pushed and falls to the ground, their use of the gravity principle has an effect of the audience as it gives the animation a realism and showcases the danger of being pushed. the bully pushes norman and he falls, the audience relate to that and it feels more real because a certain kid in the audience that has experience with bullies instantly relates to that more than he would if norman got pushed and floated in the air like a ballon, that is the effect of the gravity principle. another principle the use is secondary action.
At the thirteenth second , norman's father is in the middle of talking whiles fixing the light. as he speaks, his legs are balancing him on the ladder, his left hand is fixing the lamp and his right hand is holding an object and making gestures as he talks. the effect of secondary action humanise the character and adds realism to the animation. as humans we multitask a lot; we drink coffee whiles reading a gossip text from our lousy friend, talk not only with our mouths but with our arms, hands, facial expression which sometimes makes us look crazy and in need of a mental checkup but its human nature, those particular secondary action to norma's father's character added realism and humanised him so the audience can not only relate but also have the illusion that he is real.
owl city-fireflies fan made stopmotion video
https://www.youtube.com/watch?v=lkAVQfS8ZEw
the fan-made owl city video for their hit single "fireflies"uses both real people and objects in their stopmotion. in terms of the principles of animation, the makers of the video get brave and bold by breaking the principles of animation at the 30th second by making the character walk in an unnatural way. rather than following the arc principle, the character appears to be sliding everywhere as her way of walking, its effect on the audience is that it challenges them but also grabs and draws their attention in the minute they see the unnatural walk of the character.
The video does follow the secondary action principle at the 12th second as she holds the board with the magical eye, she also moves her arm and head. it's effect on the audience is that it brings back the realism to the character after having lost it by her unusual way of walking.
After breaking the arc rule by the character's walk, the video decides to follow it as the third minute and 34th second when she has a drink and her arm movement isn't unnatural. this of course that has a positive effect on the audience because not only does it add realism to the effect and humanise her even more which makes her more relatable to the audience.
the very noticeable animation principle in this video is the principle of time, the makers of the video didn't use a lot of frames per second so the video looks jumpy, its effect on the audience is that it makes it clear to them that this is in fact a stopmotion video.
twitter animation improvisation
https://www.youtube.com/watch?v=C068fLwk9Aw
the twitter animation improvisation uses the time animation principle very effectively by using a lot of frames per minute which makes the video appear much more smoother, it has a positive effect on the audience as they feel impressed by it. the video uses sound to create anticipation in the audience; at the 37th second , the soundtrack changes to identify danger and also reveal the characteristics of the sun glasses in the video which is the antagonist of the story, the music played before the glasses appear gives the impression to the audience that the sun glasses are the antagonist of the story.
the development of stopmotion specific from your timeline like king komg =cc
over the years the quality of stop motion has changed dramatically and amazingly. the cinematography behind stop motion in terms of quality and visuals has improved a lot thanks to the development in equipment such as; high definition cameras and more advanced stop motion software such as I stop motion.
one of the biggest improvements is in the movements of the characters. when stop motion was still new in the early years, the movements of characters weren't smooth or impressive at all, they were rather jumpy and shaky. when you watch the earliest episodes of Wallace and gormit from 1989 or the original king Kong from 1933, each movement from the characters doesn't flow smoothly, but in 2012's stop motion film, paranorman, you can notice some improvements. the makers of the stop motion have noticed that adding more frames to each second would improve the smoothness of character movements and that discovery became a game changer.
the improvement of set design has improved a lot of the years, once again notice in Wallace and gormit at the second and minute and 30th second the lack or realism in the set. but over the years the sets have gotten much more realistic and better in terms of quality. during paranorman at the 30th second the set design is incredibly impressive and looks much more realistic because of its quality in both design and cinematography.
one of the advantages todays directors have is the use of green screen, they can computerise their sets and make everything looks magical and much more realistic which is one advantage the older stop motion never had.
the movements of the characters have improved, the movements of the characters in 2012' paranormal are much more smother than the movements of 1933's king kong and the mean tyrex.
during paranorman at the 23th second, the family of Norman are talking and you can tell that they're movements from their mouths, facial expression and other secondary action are more much smother and flows better than in king kong during the fight at the 19th second as him and the Terex are having a wrestling match.
Other than the movements of characters , the set and character designs have improved impressively over the years. comparing the 1989 Wallace and Gormit to their latest episode from 2014, you see alot of improvement not only in the miser e scene but also character sculpture. At the second minute and 34th second of one of the latest Wallace and gormit episodes https://www.youtube.com/watch?v=3NKLjm2qoU0 as they sit on the dinner table, the set design is realistic and the characters have a great appearance compared to the 1989 episode where the set designs of every scene aren't realistic or creative and the characters don't look as professional as they do in this time period.
genre, style and audience
claymation has always typically been or children with shows such as shaun the sheep ,Fifi and the flowertots and wallace and gormit. but thanks to youtube a lot of fan made videos created by fans of stop motion have taken over and both their genre and target audience varies more than ever before.
famous youtuber Lee Hardcastle known for his remake of famous scenes from movies has claymation videos such as a good clay to die hard which is an action video and its targeted audience is a much higher audience than children. claymation that was typically known to be for children is now for all types of audiences and genres. other genres such as fantasies are better used with some elements of a green screen and added video effects simply because the development in technology. stop motions such as paranorman are great examples of the use of visual effects in a stop motion film, https://www.youtube.com/watch?v=xlK99b8OQU4, notice at the 14th second the beautiful visuals that were created by visual effects, this has a great effect on the audience because it modernise the video whitch adds more relevance to it and makes it more enjoyable.
Another style of stop motion is live action. live action is quite the fascinating style simply because the freedom that comes with it, the director can literally flap his wings and not be afraid to fly with it because it isn't restricted to any type of audience. no one can guarantee when this freedom will last but stop motion makers sure are enjoying it whiles it lasts. videos such as bella, smart tech and owl city fireflies (fanmade video) are all live action stop motion but they all have different types of audiences; children, adults, teenagers, and the advantages of the directors is they don't feel restricted to any of those targeted audience or even breaking a stereotype by picking a certain audience over the other. long live live action stop motion.
i certify this work as my own
unit 8 assignment 1
DIRECTOR
A movie director is a story teller, through his imagination lies a story of which he will need a lot of people, equipment, creativity and planning to bring to life.
The director might have to face obstacles such as: temperamental actors, artists, budget demands, studio time and more.. but through it all he must maintain his or hers vision of the movie.
Rolland Joffre director of the killing fields ( 1984 has said, directing movies resembles playing on a multi layered, multi dimensions chessboard, except that the chess pieces decide to move themselves. and Japanese director akira kurosowa described a film director as being a front line commanding officer. " he need knowledge of each branch of the service, and if he doesn't command each division, he cant command the whole army."- www.howstuffworks.com
directing can lead to many accomplishments but it also requires a lot of responsibilities. as the director is for the movie's overall division, he or her has final responsibilities for the actors, the shots, the scenes, the editing, script and more...
They also have to work with the movie producer to cast actors, organising and selecting shooting locations, interpreting the script and writing it, approving sets, costumes, choreography and music, giving actors directions while conducting rehearsals and shooting the film.
directing the work of the crew during shooting, working with cinematographers and shot composition.
working with editors and creating a rough-cut of the final film.
There is a lot to do on a movie especially for one person, so usually directors delegates some of the work assistant directors, a second unit director for maybe directing stunt sequences and more.
some directors do more than simply directing, David O'russle wrote the screenplay for silver lining the playbook along with American hustle right before directing them. some directors such as Ben Affleck act in their own movies (argo) and some others do it all, write , act and direct their own movie (woody Allen, quitin tarantino) .
More importantly a director must be flexible enough to go deal with unexpected challenges such as, recasting an actor last minute; Ben Affleck during a Hollywood reporter's directors round table said that during Argo he had to follow his instincts and recast an actor because the one he had weren't acting well. other decisions such as cutting a scene from the movie, changing the script or location may appear and the director ready and flexible to act on them. more importantly he must be open to suggestions from the cast and crew that could make the movie better.
the rewards are great for directors who can manage a movie-making chaos and tell their stories well. most directors get paid 10% of the movies gross earnings, blockbusters that bring in half a billion dollars or more such as avengers or iron man 3 make a great pay check for the director.
although directors such as Quintin tarantino made it without a film degree, that is a on in a million chance that only happens to extremely talented people with luck on their side or magic from harry potters world if you believe in such things. in order to get respect from movie producers you not only need the experience but qualifications, it also helps you gain more knowledge about the craft, industry and more. directors such as spike lee, martin scorcese and Ron Howard all got a film degree from universities.
The work time directors get depends on the production schedule or budget, silver lining the playbook by David Orussle was shot in 33 days schedule on a £21 million budget.
David Orussle is known as " the actors director " due to his relationship with actors and his passion for characters. his belief is that cinema can change your day but it all depends on how attached to the characters and their emotional journey you are.
EDITOR
A film or TV editor is like a mechanic. he removes the unneeded and fits pieces of film together to make a finished movie or TV show. He collaborates with cinematographers and sound editors to bring sight and sound together. he captures the directors vision and tells a story
Editors must be patient, being an editor requires hours of looking through footage and sound and assembling the movie a second at a time whiles working quickly to meet his or her directors deadline.
film editor Waller murch said " it is a cross between a short order cook and a brain surgeon"
the important elements in the job description of an editor are:
reading the script and meeting with the director to understand his or hers vision for the movie, visiting the location during filming to gain a sense of how the shooting is progressing, going through footage once shooting is done and selecting scenes based on their great contribution to the movie, looking for the best combination of photography, performance consistency and timing in every footage.
The editor also works with the sound effects editors, sound editors and musical directors and sound, score and filming sequences that will be added to the film.
they trim segments of footage to the lengths needed for the movie and assemble them into the best sequence to tell the story.
they review the edited movie, make corrections and prepare a first cut or rough-cut for the movie producers and directors to view. after the first cut they make revisions, as requested by the directors and producers, prepare the final cut for the release.
Whiles most movies use one editor, some big budget movies requires more such as movies with big visual effects that may require one editor with another who qualifies in visual effects.
a movie editor needs to artistic and academic skills, he or her must be of course patient, a great collaborator, at the same time well informed on the new industry technology. they must have a good photographic eye for camera angels, visual effects as well as an ear for sound.
they must possess the ability to work alone on detailed and sometimes tedious work.
an editor gets paid depending on their level of both experience and expertise in the craft, beginners start off with around £18,000 to £25,000, the experienced editors get around £20,000 to £37,000 and the professionals and seniors get around £37,000 to £70,000.
Cinematographer
Physical requirements for cinematography include good vision, strong hand-eye coordination and the ability to hold a camera by hand for an extended period of time. Cinematographers should also have artistic ability and an eye for detail and composition, according to the U.S. Bureau of Labor Statistics (www.bls.gov).
Often working with a director of photography, cinematographers prepare the cameras for each scene in a movie; this often includes multiple mounts so that they can get shots from many different angles. They may also use stationary cameras in one area and moving cameras in another in order to get multiple views of the action taking place in the scene.
Digital cameras have become more common in the industry, which makes it easier for cinematographers to get multiple shots with greater clarity. On large movie sets, some cinematographers sit on cranes, having crane operators move them into position as they track scenes with their cameras.
The BLS states that a postsecondary degree is typically required to become a cinematographer. Programs should cover camera equipment and operation, as well as cinematographic processes and techniques. Because of the growing prevalence of digital cinematography, it's important that students also gain an understanding of digital cameras and computer technology.
Students may focus on the techniques of cinematography at a technical school or vocational art school. Those seeking a more well-rounded education may choose to pursue a Bachelor of Fine Art in Film, which usually includes coursework in cinematography. Both professional art schools and bachelor's degree programs often also explore the artistic and theoretical aspects of cinematography. Courses from an undergraduate film program may include pre-production visualization, cinematography lighting and 3-D cinematography.
Producer
A producer will oversee each project from
conception to completion and may also be involved in the marketing and
distribution processes. Producers work closely with the directors and
other production staff on a shoot.
They have overall control on every aspect of a film's production. They bring together and approve the whole production team. Their key responsibility is to create an environment where the talents of the cast and crew can flourish. Producers are accountable for the success of the finished film. They pretty much steer the film from beginning to end.
The Producer is often the first person to get involved in a project. Or they may be the agent-style Producer who focuses on the deal. The many responsibilities of the Producer span all four phases of production. In the Development stage, Producers are often responsible for coming up with the idea for a production, or selecting a screenplay. Producers secure the rights, choose the screenwriter and story editing team. They raise the development financing and supervise the development process.
In pre-production, Producers bring together the key members of the creative team. This includes the Director, Cinematographer and Production Designer and key cast members. They help the Executive Producers to raise money for the production. Once the initial finance is in place, they select other key production office personnel and Heads of Departments. Once the film is in production, Producers are responsible for the day-to-day smooth operation of the team. Producers are also in constant communication and consultation with the Director and other key creatives, on and off set. They approve all script changes and cost reports. They are the first point of contact for all production partners, investors and distributors.
overall, when you look at the big picture, every role is connected to the other. the producer work closely with the director during pre production, production and even post production. the director too works hand in hand with the cinematographer during pre production as they plan for the cinematography of the film or tv show and during post production he works closely with the editor.
many will say that the film world is the directors world, as in the end all that really matters is his vision for the film, although he answers to the producer, the project is still his and he is the one with the heavy task to Shepperd the project from start to finish. however in the tv world the rules are different. in tv the director isn't the Shepperd of the project anymore but rather the producer. this is why it is known as the writer and producers world. the producers have to plan for the story arcs of all episodes and plan for the whole season, therefor the director comes on the project with a blueprint set by the producer which gives him title input to the story if any at all.
i certify this work as my own
A movie director is a story teller, through his imagination lies a story of which he will need a lot of people, equipment, creativity and planning to bring to life.
The director might have to face obstacles such as: temperamental actors, artists, budget demands, studio time and more.. but through it all he must maintain his or hers vision of the movie.
Rolland Joffre director of the killing fields ( 1984 has said, directing movies resembles playing on a multi layered, multi dimensions chessboard, except that the chess pieces decide to move themselves. and Japanese director akira kurosowa described a film director as being a front line commanding officer. " he need knowledge of each branch of the service, and if he doesn't command each division, he cant command the whole army."- www.howstuffworks.com
directing can lead to many accomplishments but it also requires a lot of responsibilities. as the director is for the movie's overall division, he or her has final responsibilities for the actors, the shots, the scenes, the editing, script and more...
They also have to work with the movie producer to cast actors, organising and selecting shooting locations, interpreting the script and writing it, approving sets, costumes, choreography and music, giving actors directions while conducting rehearsals and shooting the film.
directing the work of the crew during shooting, working with cinematographers and shot composition.
working with editors and creating a rough-cut of the final film.
There is a lot to do on a movie especially for one person, so usually directors delegates some of the work assistant directors, a second unit director for maybe directing stunt sequences and more.
some directors do more than simply directing, David O'russle wrote the screenplay for silver lining the playbook along with American hustle right before directing them. some directors such as Ben Affleck act in their own movies (argo) and some others do it all, write , act and direct their own movie (woody Allen, quitin tarantino) .
More importantly a director must be flexible enough to go deal with unexpected challenges such as, recasting an actor last minute; Ben Affleck during a Hollywood reporter's directors round table said that during Argo he had to follow his instincts and recast an actor because the one he had weren't acting well. other decisions such as cutting a scene from the movie, changing the script or location may appear and the director ready and flexible to act on them. more importantly he must be open to suggestions from the cast and crew that could make the movie better.
the rewards are great for directors who can manage a movie-making chaos and tell their stories well. most directors get paid 10% of the movies gross earnings, blockbusters that bring in half a billion dollars or more such as avengers or iron man 3 make a great pay check for the director.
although directors such as Quintin tarantino made it without a film degree, that is a on in a million chance that only happens to extremely talented people with luck on their side or magic from harry potters world if you believe in such things. in order to get respect from movie producers you not only need the experience but qualifications, it also helps you gain more knowledge about the craft, industry and more. directors such as spike lee, martin scorcese and Ron Howard all got a film degree from universities.
The work time directors get depends on the production schedule or budget, silver lining the playbook by David Orussle was shot in 33 days schedule on a £21 million budget.
David Orussle is known as " the actors director " due to his relationship with actors and his passion for characters. his belief is that cinema can change your day but it all depends on how attached to the characters and their emotional journey you are.
EDITOR
A film or TV editor is like a mechanic. he removes the unneeded and fits pieces of film together to make a finished movie or TV show. He collaborates with cinematographers and sound editors to bring sight and sound together. he captures the directors vision and tells a story
Editors must be patient, being an editor requires hours of looking through footage and sound and assembling the movie a second at a time whiles working quickly to meet his or her directors deadline.
film editor Waller murch said " it is a cross between a short order cook and a brain surgeon"
the important elements in the job description of an editor are:
reading the script and meeting with the director to understand his or hers vision for the movie, visiting the location during filming to gain a sense of how the shooting is progressing, going through footage once shooting is done and selecting scenes based on their great contribution to the movie, looking for the best combination of photography, performance consistency and timing in every footage.
The editor also works with the sound effects editors, sound editors and musical directors and sound, score and filming sequences that will be added to the film.
they trim segments of footage to the lengths needed for the movie and assemble them into the best sequence to tell the story.
they review the edited movie, make corrections and prepare a first cut or rough-cut for the movie producers and directors to view. after the first cut they make revisions, as requested by the directors and producers, prepare the final cut for the release.
Whiles most movies use one editor, some big budget movies requires more such as movies with big visual effects that may require one editor with another who qualifies in visual effects.
a movie editor needs to artistic and academic skills, he or her must be of course patient, a great collaborator, at the same time well informed on the new industry technology. they must have a good photographic eye for camera angels, visual effects as well as an ear for sound.
they must possess the ability to work alone on detailed and sometimes tedious work.
an editor gets paid depending on their level of both experience and expertise in the craft, beginners start off with around £18,000 to £25,000, the experienced editors get around £20,000 to £37,000 and the professionals and seniors get around £37,000 to £70,000.
Cinematographer
Cinematographers operate the cameras used to film
movies. They may specialize in areas such as special effects or cartoons, or
simply manage the multi-camera rigs required to film entire motion pictures. A
postsecondary degree is typically required to become a cinematographer.
There are many different types of video camera operators. A cinematographer
is simply one who films movies, from Hollywood blockbusters to documentary
shorts. Because making motion pictures is so complex, some cinematographers
specialize in one area, such as filming special effects or animation. Physical requirements for cinematography include good vision, strong hand-eye coordination and the ability to hold a camera by hand for an extended period of time. Cinematographers should also have artistic ability and an eye for detail and composition, according to the U.S. Bureau of Labor Statistics (www.bls.gov).
Often working with a director of photography, cinematographers prepare the cameras for each scene in a movie; this often includes multiple mounts so that they can get shots from many different angles. They may also use stationary cameras in one area and moving cameras in another in order to get multiple views of the action taking place in the scene.
Digital cameras have become more common in the industry, which makes it easier for cinematographers to get multiple shots with greater clarity. On large movie sets, some cinematographers sit on cranes, having crane operators move them into position as they track scenes with their cameras.
The BLS states that a postsecondary degree is typically required to become a cinematographer. Programs should cover camera equipment and operation, as well as cinematographic processes and techniques. Because of the growing prevalence of digital cinematography, it's important that students also gain an understanding of digital cameras and computer technology.
Students may focus on the techniques of cinematography at a technical school or vocational art school. Those seeking a more well-rounded education may choose to pursue a Bachelor of Fine Art in Film, which usually includes coursework in cinematography. Both professional art schools and bachelor's degree programs often also explore the artistic and theoretical aspects of cinematography. Courses from an undergraduate film program may include pre-production visualization, cinematography lighting and 3-D cinematography.
Producer
They have overall control on every aspect of a film's production. They bring together and approve the whole production team. Their key responsibility is to create an environment where the talents of the cast and crew can flourish. Producers are accountable for the success of the finished film. They pretty much steer the film from beginning to end.
The Producer is often the first person to get involved in a project. Or they may be the agent-style Producer who focuses on the deal. The many responsibilities of the Producer span all four phases of production. In the Development stage, Producers are often responsible for coming up with the idea for a production, or selecting a screenplay. Producers secure the rights, choose the screenwriter and story editing team. They raise the development financing and supervise the development process.
In pre-production, Producers bring together the key members of the creative team. This includes the Director, Cinematographer and Production Designer and key cast members. They help the Executive Producers to raise money for the production. Once the initial finance is in place, they select other key production office personnel and Heads of Departments. Once the film is in production, Producers are responsible for the day-to-day smooth operation of the team. Producers are also in constant communication and consultation with the Director and other key creatives, on and off set. They approve all script changes and cost reports. They are the first point of contact for all production partners, investors and distributors.
overall, when you look at the big picture, every role is connected to the other. the producer work closely with the director during pre production, production and even post production. the director too works hand in hand with the cinematographer during pre production as they plan for the cinematography of the film or tv show and during post production he works closely with the editor.
many will say that the film world is the directors world, as in the end all that really matters is his vision for the film, although he answers to the producer, the project is still his and he is the one with the heavy task to Shepperd the project from start to finish. however in the tv world the rules are different. in tv the director isn't the Shepperd of the project anymore but rather the producer. this is why it is known as the writer and producers world. the producers have to plan for the story arcs of all episodes and plan for the whole season, therefor the director comes on the project with a blueprint set by the producer which gives him title input to the story if any at all.
i certify this work as my own
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