tag:blogger.com,1999:blog-68568404895447535792024-03-14T03:23:31.866-07:00Digital Animation 2010Sarah Druryhttp://www.blogger.com/profile/03420906170938544925noreply@blogger.comBlogger60125tag:blogger.com,1999:blog-6856840489544753579.post-67670788879067170722010-05-10T14:17:00.000-07:002010-05-10T14:40:00.780-07:00Issues in RepresentationTo be honest I found this chapter to be a tedious read. Normally I don't condone looking so far into something as simple and innocent as animation. But after many of the examples and analysis of various famous character such as popey and Micky Mouse, I was successfully convinced that the issue of representation is something you can't escape whether or not you like it. Because the animation will always be interpreted through the eyes of whoever is watching it, and everyone, no matter what shape or color, watches cartoons. So animations will always try to make a connection with its most likely demographic. There could be a group of character that each sort of carve out a different demographic to get everyone covered. How bout Transformers 2? There were two new transformers introduced that talked in "slang". Obviously this is a represention of the modern perception of urban inner city culture. There was apart in this film that these two robots confessed that they couldn't read. Did the producers not realize how that could have been perceieved extremely negatively? Or did they do it on purpose? <br />Undoubtedly it is the responsibility of the artist or animator to always be conscious of these issues. And that is why many cartoons seem to have no gender and race at all, because it delicate territory to treed on indeed.Piotr Bednarczykhttp://www.blogger.com/profile/09243196245008238528noreply@blogger.com0tag:blogger.com,1999:blog-6856840489544753579.post-40762317155671273792010-05-10T14:11:00.000-07:002010-05-10T14:16:10.637-07:00Masking Exersise pt2<embed src="http://blip.tv/play/AYHdlzUC" type="application/x-shockwave-flash" width="480" height="300" allowscriptaccess="always" allowfullscreen="true"></embed><br /><br /><br /><br />Second part to masking exercises. Not in any way related to the last one. Just messing with masking and effects.<br /><br />To do this wall shatter effect you need 3 copies of the layer you want to shatter. First make the mask on the original layer. Copy it for 2 more copies. Change the masking options for one of the to be "subtractive" as apposed to "add". This layer will serve as the layer with the hole in it. The "add" layer will be the layer you add the effect to. And the 3rd layer which will also be an "add" layer is there to fill the hole till you want it to shatter.Piotr Bednarczykhttp://www.blogger.com/profile/09243196245008238528noreply@blogger.com0tag:blogger.com,1999:blog-6856840489544753579.post-64910800471153482342010-05-10T14:06:00.000-07:002010-05-10T14:10:27.472-07:003d Exercise<embed src="http://blip.tv/play/AYHdlHQC" type="application/x-shockwave-flash" width="480" height="300" allowscriptaccess="always" allowfullscreen="true"></embed><br /><br /><br /><br />My 3d exercise with some effects. After going back to my second masking assignment I realized why the wireframe stayed behind.<br />When you put an effect on a layer, make sure to change the view option to "rendered" so that the wireframes will not stay behind once you render out the whole thing. I had forgotten to do that in this case.Piotr Bednarczykhttp://www.blogger.com/profile/09243196245008238528noreply@blogger.com0tag:blogger.com,1999:blog-6856840489544753579.post-24852310007147751782010-04-20T10:28:00.000-07:002010-04-20T10:31:44.865-07:00issues in representation.<p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 13.0px Arial">The chapter begins by reminding readers that people see animation as an innocent medium for children. These people underestimate the meaning and portrayal of animated characters. Describing the degree of Popeyes masculinity, and questioning the effects of spinach on Popeye but none of his enemies, Wells proves how male characters are masculine and female characters are secondary in importance to the story. wells also points out that the female characters have exaggerated, unnatural female features. features like eye long lashes and big chests. The chapter gives credible examples like Popeye, Superman, and Mickey Mouse. Each of these characters are masculine and have a female counter part Olive Oyl, Lois Lane, and Mini Mouse. I agree with Wells but he says nothing about todays animation. Computers have completely changed the animated world and I wonder if Wells still believes the same thing about todays animation. Also, it is not just the technology that may have changed the "issues of representation" but the characters Wells exemplifies are from the 20's and 30's. Many women didn't work at all and fewer worked in the male dominated film industry. Race was also still a predominate issue that could explain the stereotype of race in animation during the age of Popeye and Micky Mouse .</p>Ashlie Iacoccahttp://www.blogger.com/profile/01659338621211394707noreply@blogger.com0tag:blogger.com,1999:blog-6856840489544753579.post-48563667591975626312010-04-20T00:43:00.000-07:002010-04-20T10:11:14.386-07:00Understanding animation ch 5I found the chapter to be very enlightening and articulated a lot of ideas that are often denied by those in power- the animators and those who are empowered by the stories of masculinity and otherness.<br /><br />"Womens' animation recognizes the shift from the representation of women as object to the representation of women as subject" (p. 200)<br /><br />The chapter gave many examples of stereotypes and inequalities in charachter exhibited under the guise of comedy or "innocent" animations. The attitude of the animators always needing someone to marginalize for the butt of the joke is an unfortunate side of mainstream animation.Hannah Schulmanhttp://www.blogger.com/profile/13311590750721773054noreply@blogger.com0tag:blogger.com,1999:blog-6856840489544753579.post-2241173126115836632010-04-20T00:27:00.001-07:002010-04-20T00:30:08.729-07:00Final Project Animatic<embed src="http://blip.tv/play/AYHVzwkA" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" height="312" width="400"></embed>Brandon Reynoldshttp://www.blogger.com/profile/18055458127742478519noreply@blogger.com0tag:blogger.com,1999:blog-6856840489544753579.post-49009370436959137182010-04-20T00:25:00.002-07:002010-04-20T00:30:45.253-07:00Project 6<embed src="http://blip.tv/play/AYHUsz4A" type="application/x-shockwave-flash" width="400" height="312" allowscriptaccess="always" allowfullscreen="true"></embed>Brandon Reynoldshttp://www.blogger.com/profile/18055458127742478519noreply@blogger.com0tag:blogger.com,1999:blog-6856840489544753579.post-59625922962081167862010-04-20T00:25:00.001-07:002010-04-20T00:31:10.601-07:00Project 5<object id="video_player_object" type="application/x-shockwave-flash" classid="clsid:d27cdb6e-ae6d-11cf-96b8-444553540000" codebase="http://fpdownload.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=8,0,0,0" allowfullscreen="true" allowscriptaccess="always" height="312" width="400"><embed type="application/x-shockwave-flash" wmode="opaque" allowscriptaccess="always" allowfullscreen="true" pluginspage="http://www.macromedia.com/go/getflashplayer" src="http://a.blip.tv/scripts/flash/showplayer.swf?file=http%3A//blip.tv/rss/flash/3437997%3Freferrer%3Dblip.tv%26source%3D1%26use_direct%3D1%26use_documents%3D1&enablejs=true&showplayerpath=http%3A//a.blip.tv/scripts/flash/showplayer.swf&autostart=true&feedurl=http%3A//DigitalAnimation.blip.tv/rss&playerUrl=http%3A//a.blip.tv/scripts/flash/showplayer.swf&staggeredLoad=true&enableHtml5Player=true" id="video_player_embed" height="498" width="624"></embed></object>Brandon Reynoldshttp://www.blogger.com/profile/18055458127742478519noreply@blogger.com0tag:blogger.com,1999:blog-6856840489544753579.post-86838950973365291142010-04-18T12:48:00.000-07:002010-04-18T13:17:37.101-07:00Understanding Animation Chapter 5This chapter discussed the representation in animation; specifically gender and race. The two sections that I found particularly interesting were about the way men and women are portrayed. Under the section called 'Faster than a speeding bullet...' Men and masculinity, Wells uses Popeye and Superman as extreme examples of how masculine men are characterized in animation. It is interesting how similar men and women are represented in the physical sense. Popeye and Superman have exaggerated muscles and inhuman abilities, while characters like Betty <span class="blsp-spelling-error" id="SPELLING_ERROR_0">Boop</span> had over sized eyelashes and bust lines. While men and women might have been both ridiculously characterize in the physical manner, Wells made an observation about their personalities and morality. Characters like Popeye and Superman were heroes and had very high morals that they stuck to no matter what. They did the right thing despite the consequences and never did anything that questionable or selfish. On the other side, women were often portrayed as "wayward girls and wicked women." They were fickle, immoral, seductresses. They would often serve as distractions to the male heroes, such as Olive <span class="blsp-spelling-error" id="SPELLING_ERROR_1">Oyl</span> with Popeye. Looking at different animations and comics over the years, it is interesting to see how these representations of gender held true.Will Rowehttp://www.blogger.com/profile/07017084431025602219noreply@blogger.com0tag:blogger.com,1999:blog-6856840489544753579.post-8913216475317387922010-04-13T13:44:00.001-07:002010-04-13T13:44:25.844-07:00Final Project Animatic<embed src="http://blip.tv/play/AYHV1AAC" type="application/x-shockwave-flash" width="480" height="297" allowscriptaccess="always" allowfullscreen="true"></embed>Will Rowehttp://www.blogger.com/profile/07017084431025602219noreply@blogger.com0tag:blogger.com,1999:blog-6856840489544753579.post-31903683541410785352010-04-06T14:04:00.000-07:002010-04-06T14:15:25.613-07:00Chap. 4 ResponseThis chapter was interesting in how it deconstructed large active comic panels in terms of time and how our eyes move across the panel. I liked the section on subjective motion, and how instead of observing the action take place, you are the action taking place, and observe your environment moving around you. I am always trying to relate the concepts from the different chapters of this book to actual film and animation, and so I didn't like how this chapter was so grounded specifically within comics. That's not to say I didn't find interesting the points the author made in relation to comics. I especially found entertaining the section describing panels in terms of past, present and future, as well as the section that played with this concept, as well as the concept pertaining to which direction we read the panels, and how the author was able to weave a multidimensional story in different directions on one page.Piotr Bednarczykhttp://www.blogger.com/profile/09243196245008238528noreply@blogger.com0tag:blogger.com,1999:blog-6856840489544753579.post-43901266804404595532010-04-06T11:15:00.001-07:002010-04-06T11:15:49.529-07:003D Project<embed src="http://blip.tv/play/AYHT11UA" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" height="270" width="320"></embed>Will Rowehttp://www.blogger.com/profile/07017084431025602219noreply@blogger.com0tag:blogger.com,1999:blog-6856840489544753579.post-70254421362676408172010-03-30T12:33:00.000-07:002010-03-30T12:34:10.593-07:00Project 5 - Allen Heberlig & Will Rowe<embed src="http://blip.tv/play/AYHR7kIA" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" height="270" width="320"></embed>Will Rowehttp://www.blogger.com/profile/07017084431025602219noreply@blogger.com0tag:blogger.com,1999:blog-6856840489544753579.post-8267657430905290452010-03-30T11:47:00.000-07:002010-03-30T12:53:27.379-07:00Chapter 4In chapter 4 McCloud mostly talks about the ideas of time and motion. He specifically makes reference to ways that a comics can give the psychology of time passing within a single image. In doing this, a larger message can be presented within a single image instead of 3 images. By adding lines that precede the object's movement, the message of movement is directed to the viewer in a non-distracting way. He also explains the polyptych in which a moving figure or figures is placed in front of a continuous background allowing for a single large background to be created from the combined images. I think the major point that McCloud is trying to make is to recognize the different ways time can be expressed but also that time is in the head of the viewer when it comes to comics.<br /><br />Jeff McReynoldsUnknownnoreply@blogger.com0tag:blogger.com,1999:blog-6856840489544753579.post-278172287745988122010-03-30T09:58:00.000-07:002010-03-30T10:01:17.341-07:00Chapter 4<p style="margin: 0.0px 0.0px 0.0px 0.0px; font: 12.0px Helvetica">In chapter 4 McCloud explains how to show the passage of time in comics. He gives a few examples like a blank icon or to show a longer period of time, a longer blank icon. He also describes the importance of the icons. I would have never thought of this on my own. McCloud says how important the icons are, they contain all of the information wether it is black and white on the page or more abstract, like the passage of time. Next McCloud explains the flow of comics. That we read and interpret them from left to right and from top to bottom, we perceive the icons previous to the current frame as things in the past and icons to come are perceived as the future. the final points made are the ways different cultures and time periods show motion and sound. </p>Ashlie Iacoccahttp://www.blogger.com/profile/01659338621211394707noreply@blogger.com0tag:blogger.com,1999:blog-6856840489544753579.post-78876545223030650452010-03-30T09:36:00.001-07:002010-03-30T09:38:35.073-07:00Chapter 4This chapter focused on the idea of time and the way comics transverse time from panel to panel. I found that most interesting part was the way some panels could slow time down to milliseconds between what happens while some didn't even have panels but all the time was shown within one panel and just a matte of how it was read. It was all happening at once in one panel though the way the reader read it created the idea of time.Colbyhttp://www.blogger.com/profile/05278463511499344862noreply@blogger.com0tag:blogger.com,1999:blog-6856840489544753579.post-19246501312254309972010-03-30T09:34:00.001-07:002010-03-30T09:34:47.940-07:00McCloud, Chapter 4<p class="MsoNormal" style="text-indent:.5in">In chapter four, McCloud talks about different ways that time can be represented within the frame.<span style="mso-spacerun:yes"> </span>A frame is usually not just a single moment.<span style="mso-spacerun:yes"> </span>Sound or movement adds duration to the frame.<span style="mso-spacerun:yes"> </span>Likewise, the size of the frame and the amount of space between frames can be used to suggest the passage of time.<span style="mso-spacerun:yes"> </span>Furthermore, a sense of timelessness can sometimes be achieved by a silent frame, although this depends largely on the content of the frame.</p> <p class="MsoNormal"><span style="mso-tab-count:1"> </span>McCloud goes on to talk about Duchamp’s concept of movement (the single line) as well as the Futurist’s dynamic movement (the object in different positions in the same image).<span style="mso-spacerun:yes"> </span>These were both precursors to the motion line that is used in most American comics today.</p>Allen Heberlighttp://www.blogger.com/profile/04413787055788956575noreply@blogger.com0tag:blogger.com,1999:blog-6856840489544753579.post-41076155753141982932010-03-30T08:55:00.000-07:002010-03-30T09:21:49.001-07:00assignment 5<embed src="http://blip.tv/play/AYHR0RsC" type="application/x-shockwave-flash" width="480" height="350" allowscriptaccess="always" allowfullscreen="true"></embed>Hannah Schulmanhttp://www.blogger.com/profile/13311590750721773054noreply@blogger.com0tag:blogger.com,1999:blog-6856840489544753579.post-71214476060248773582010-03-29T20:55:00.002-07:002010-03-30T09:22:10.688-07:00response to chapter 4Chapter four dealt with how comics control the readers' perception of time. Through manipulation of frame, sounds/words, etc. Unlike comics, animation has the dimension of time determined by the author rather than the reader, but the perception of time can still be manipulated through framing and sounds. A slow moving scene without sound will always feel longer than the same slow scene set to music.Hannah Schulmanhttp://www.blogger.com/profile/13311590750721773054noreply@blogger.com0tag:blogger.com,1999:blog-6856840489544753579.post-61479717413346172102010-03-28T08:15:00.000-07:002010-03-28T08:30:30.631-07:00Understanding Comics Chapter 4In Chapter 4, McCloud talks about the relationship between time and comic panels, how their shape and use affect perception, and how motion is represented. Something that I found most enlightening was the use of longer panels to show the passing of a longer period of time. In the 1800's motion was added to individual panels, using motion lines to represent an object going across space. This can give a panel even more control over time as someone plays out in their mind how long it would take for that action. McCloud's point throughout the chapter, however, is that timing in comics is not as simple as "1...2...3" it is subjective to the content of the panels and use of panels themselves.Will Rowehttp://www.blogger.com/profile/07017084431025602219noreply@blogger.com0tag:blogger.com,1999:blog-6856840489544753579.post-43940549232451935012010-03-27T23:32:00.000-07:002010-03-27T23:33:29.541-07:00Compositing Project<center><embed src="http://blip.tv/play/AYHRi1YA" type="application/x-shockwave-flash" width="320" height="270" allowscriptaccess="always" allowfullscreen="true"></embed></center>Will Rowehttp://www.blogger.com/profile/07017084431025602219noreply@blogger.com0tag:blogger.com,1999:blog-6856840489544753579.post-83440553104631423052010-03-23T11:44:00.000-07:002010-03-23T11:45:33.217-07:00Assignment 4bJeff McReynolds<br /><br />"Rainclouds"<br /><br />http://digitalanimation.blip.tv/file/3381402/Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-6856840489544753579.post-11464292255754216182010-03-23T10:44:00.001-07:002010-03-23T11:07:34.176-07:00Character Rational<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4QltKTf08ofijPGUZdlNEn4NGwRbvdlyTOZD7FJDOypx_k3BVxSP3QKQGehWApsJYVcpYO6-VIWgKfU5Q06fZSs1n4cRUIEg9xA0abtIAaZxulBEAGQVi9WtuQPNdtVpMjJ5a-YksSUWO/s1600-h/PiotrBednarczyk_CharacterRational.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 302px; height: 442px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4QltKTf08ofijPGUZdlNEn4NGwRbvdlyTOZD7FJDOypx_k3BVxSP3QKQGehWApsJYVcpYO6-VIWgKfU5Q06fZSs1n4cRUIEg9xA0abtIAaZxulBEAGQVi9WtuQPNdtVpMjJ5a-YksSUWO/s320/PiotrBednarczyk_CharacterRational.jpg" alt="" id="BLOGGER_PHOTO_ID_5451886942560334418" border="0" /></a><br />Metalocop is one half of a detective duo of an animated show I have been working on that I will incorporate into this animation assignment. The show inhabits a world somewhat parodying worlds such as "Miami Vice" and "The Wire". MetaloCop is actualy the sissy cop of the detective due, and lives with his mom and family who are all also RoboCops with only one unique article of clothing to distinguish themselves, otherwise they look exactly the same; for example the father wears a robe, mother an apron, etc.<br />MetaloCop attempts to always be judicious, but is very clumsy, doesn't know his strength, and just ends up destroying more property than stoping crime. Turns out he has an unfortunate tendency to always hurt or kill innocent grannies while in pursuit.Piotr Bednarczykhttp://www.blogger.com/profile/09243196245008238528noreply@blogger.com0tag:blogger.com,1999:blog-6856840489544753579.post-85553714326930954532010-03-17T11:10:00.000-07:002010-03-17T11:10:00.401-07:00assignment 4<embed src="http://blip.tv/play/AYHN8VcC" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" height="390" width="480"></embed><br />by Hannah SchulmanHannah Schulmanhttp://www.blogger.com/profile/13311590750721773054noreply@blogger.com0tag:blogger.com,1999:blog-6856840489544753579.post-60082109863626159282010-03-16T10:08:00.000-07:002010-03-16T10:18:11.624-07:00Understanding Animation ch 3Wells describes metamorphosis as a technique unique to animation where one image can morph through lines and color into a completely different image. This is used in simple light and shadow animation and creates a less real more imaginary sense. A queen can turn into an old witch through the strokes of the animator which is accepted by viewers despite being impossible in reality.<br /><br />Condensation is the condensing of story elements into a much shorter action that wouldn't be possible in reality. Wells gives the example of the Home on the Rails where much of the story is shown in short sequences happening all at once. Despite what seems a simple narrative the main elements of the story remain solid and imply much more.<br /><br />Synecdoche is when a part of something is used to represent the whole. The bottom half of something represents the whole, an often much more complext meaning.<br /><br />Symbolism and Metaphor are a great tool for getting around censorship, where one can use an image of something innocuous to symbolize a whole complex idea that may be controversial or politically unacceptable. No where is this more used than in sexual innuendo and political satire.<br /><br />My character may employ much symbolism as his life is very simple but is a metaphore for much larger ideas and motivations.Hannah Schulmanhttp://www.blogger.com/profile/13311590750721773054noreply@blogger.com0