Animated mise en scene and aesthetic harmony an expansion of the traditional principles of animation to 3d computer animation

Animated Mise-en-scène and Aesthetic Harmony: An Expansion of the Traditional Principles of Animation to 3D Computer Animation By Chris Carter BMM, Grad Dip AVE, MDD Submitted in fulfillment of the requirements for the degree of Doctor of Philosophy Film, Screen, Animation Creative Industries Faculty Queensland University of Technology 2016 Keywords Character Animation, Character Motion, Cartoon Motion, Animation Style, Principles of Animation, Computer Animation, Computer Graphics, Visual Effects, 3D Computer Animation Abstract Although 3D Computer Graphics (CG) has become the dominant medium for modern animated feature films, many of the core principles of animation, which were developed at the Disney studios for hand-drawn cartoon-style 2D cel animation, have persisted and remain fundamental to the formulation of character motion in this new medium Indeed, traditional principles of animation applied to 3D CG animation heavily influence the range of aesthetic motion styles in contemporary animation As Isaac Kerlow (2009, 305) argues, the collective challenge of the animation industry is to now reinterpret and expand the original principles of animation and to add new principles to address contemporary animation technologies, styles, techniques and possibilities This thesis will examine and establish how the principles of animation are incorporated into new technological styles of animation as the medium continues evolve The 12 principles of animation that have traditionally guided the creation of believable character motion have been adapted from 2D animation to the 3D CG medium This thesis will undertake a textual analysis of four Hollywood 3D animated feature films of various styles It will examine how character motion has been constructed, with particular focus on the fundamental elements of composition, form and style This thesis will provide a broad understanding of the remediation of the traditional principles of animation in 3D animation A specific outcome of the research is a re-interpretation of the Disney principle of appeal and using this principle to differentiate how the other principles are applied in 3D animation used in animated movies This is defined as aesthetic harmony and delineates the way in which character posing and transitions between poses contribute to the animated motion styles that animators work in today Table of Contents Chapter Introduction 21   1.1   Introduction and Background: Motion Style in Animation .21   1.2   Research Problem 27   1.3   Questions, Aim and Objectives 27   1.4   Approach 29   1.5   Objects of study 30   1.6   Contribution to New Knowledge and Significance of the Research 30   1.7   Thesis Structure 31   Chapter Literature and Contextual Review 35   2.1   Introduction .35   2.2   The Perception of Motion 36   2.3   Controlling Apparent Motion 42   2.4   Character Motion as an Element of Mise en scène 46   2.5   Believability and the Illusion of Life 49   2.6   Twelve Principles of Animation 56   2.7   Interpretations and Extensions of the Principles .67   2.8   Relevance of the Principles to 3D CG Animation 74   2.9   Laban Movement Analysis 77   2.10   Animation Styles and Approaches 79   2.11   The Tensions of Realism and Abstraction in 3D Animation 85   2.12   3D Computer Animation Process .89   2.13   Digital Character Construction 95   2.14   Comparative Analysis .99   2.15   Animator or Motion Editor .103   2.16   Conclusion 107   Chapter Methodology and Methods 110   3.1   Poetics of Cinema 110   3.2   Action Analysis .113   3.3   Methods 115   3.4   Approach to Process 119   Chapter The Disney Aesthetic 123   4.1   Introduction .123   4.2   Shape Language 124   4.3   Cartoon Patterns 126   4.4   Pose Design 132   4.5   Variation on Movement Style 139   4.6   Unity of the Face 141   4.7   Conclusion 144   Chapter Limited Motion Style 147   5.1   Introduction 147   5.2   Shape Language and Pose Design 148   5.3   Motion from Pose to Pose 152   5.4   Asynchronous Action 159   5.5   Shape Deformation 162   5.6   Conclusion 165   Chapter Exaggerated Cartoon Style 167   6.1   Introduction 167   6.2   Background 169   6.3   Pose Design 175   6.4   Fast Motion 179   6.5   Retaining Clear Shapes 183   6.6   Conclusion 187   Chapter Hyper-Realistic Cartoon Style 189   7.1   Introduction 189   7.2   Believability, Hyperrealism and the Uncanny 192   7.3   Alternatives to the Uncanny Valley 194   7.4   Rethinking Appeal 199   7.5   Authenticity 204   7.6   Conclusion 207   Chapter Analysis, Overview and the Emergence of a New Principle: Aesthetic Harmony 209   8.1   Introduction 209   8.2   Pose Design 212   8.3   Transitioning Between Poses 215   8.4   Conclusion 218   Chapter Conclusion 221   9.1   Research Summary 221   9.2   Implications for Animation Studies 225   9.3   Future Research 227   List of Figures Figure 1: Single frame from Pas De Deux (McLaren 1968) Figure 2: Example of timing and spacing (Williams 2009, 38) Figure 3: Ponyo happy to have found Sōsuke (Ponyo 2008) Figure 4: Chihiro frightened (Spirited Away 2001) Figure 5: Chihiro faces Yubaba (Spirited Away 2001) Figure 6: Depp providing “emotion” reference (Rango 2011) Figure 7: Example of stretch (Tangled 2010) Figure 8: Example of squash and stretch (Tangled 2010) Figure 9: Squash and stretch on the face (The Incredibles 2004) Figure 10: Follow-through and overlapping actions (Williams 2009, 226) Figure 11: Slow-out and slow-in (Williams 2009, 38) Figure 12: Arcs (Williams 2009, 91) Figure 13: Example of solid drawing (Beauty and the Beast 1991) Figure 14: Line of action (Blair 1995, 90) Figure 15: Demonstration of 28 principles (Stanchfield 2007:154–155) Figure 16: Observations (Stanchfield 2007, 156) Figure 17: Twenty-one Principles in a single drawing (Stanchfield 2007, 157) Figure 18: Human characters in 3D (The Incredibles 2004) Figure 19: Theory of animation (Wells 1998, 36) Figure 20: The “Big Triangle” (McCloud 1994, 52–53) Figure 21: Triangle of movement styles contribution to the field by confirming the importance of the traditional principles to the new medium, as well as by explaining the tensions and adaptations that have occurred in the remediation of the principles into the new medium It has also contributed to the field by articulating and illustrating a new principle of aesthetic harmony However, the continued widespread use of digital characters and creatures in animation, games and visual effects creates many opportunities for future research and development Some of these opportunities include technological developments in the form of new hardware and software technologies: pedagogical practice for improving artist and technician knowledge of digital technologies and the implications of their use; and more efficient and effective production techniques and processes (Dodgson et al 2010) More specifically, there are at least three opportunities for future research that have arisen from this specific study, which include: A direct continuation of this study by further re-interpretation and expansion upon the methods, principles and formulas of traditional animation Specifically the principle of straight ahead and pose-to-pose animation need to be redefined in light of current working methods in the 3D CG medium Expansion of the proposed “triangle of movement” styles introduced in Chapter 2, which is an early attempt to map the range of movement styles according to positions on a continuum from mimeses to abstraction, along with consideration of the range of deformation in the character shape An analysis of whether, and to what extent, animation principles are at work in stereoscopic films In such a rapidly emerging field, these three opportunities for future research are not exhaustive They are simply opportunities that have been revealed out of this body of 228 research First, and perhaps the most easily addressed opportunity, is the direct extension of this study While it has focused primarily upon principles concerned with character motion, there is also a need to focus on other principles that guide animation methods and appearance For example, it would be beneficial to animation students and practitioners to have the principles of pose-to-pose and straight-ahead animation updated to reflect contemporary character animation workflows In addition, and as identified in Chapter 2, there is almost a complete lack of theory concerned with animation staging There is certainly an opportunity to investigate the conventions of animation staging in 2D and 3D media in a similar way to David Bordwell’s research on cinematic staging in Figures Traced in Light: on Cinematic Staging (2005) Second, in the literature and contextual review I presented a potential model for mapping the aesthetic range of animated motion styles This was based on McCloud’s “Big Triangle”, which can be found in the second chapter of his text, Understanding Comics (1994) While a fully developed theoretical model was beyond the scope of this research project, this thesis may provide a starting point to develop the concept into a full theoretical model or framework for understanding or mapping the growing aesthetic range of animation styles Third, and possibly the most rapidly growing need for further research, is character animation in stereoscopic films Stereoscopic films present a wide range of implications for the animator’s practice Unlike non-stereoscopic films, character pose design is represented in a three-dimensional virtual space that does not get flattened to a two-dimensional plane when projected to the audience This impacts upon the pose design, the character motion and the spatial arrangement of the character within the scene A thorough investigation of character animation within 229 the context of animation staging in stereoscopic films could provide a better understanding of how to achieve aesthetic harmony while using the depth of the frame 230 References 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