Even though freedom of camera movement is now possible, in both animation and cinema, the productions are still following the same cinematic grammar that was set long before the possibilities of a free roaming camera. What we have seen in this research is that the cinematic language is not up for any revolutionary change just merely as a result of new technology or camera invention.
It seems that the cinematic narrative grammar and the cinematographic conventions have set the standard for what is “reality” on film. So when working with digitally constructed space recorded by a virtual camera, the directors are compensating by making the manufactured image look like it was filmed with an analogue camera. By applying all the conventions, limitations, properties and artifacts of the analogue camera to the virtual camera, it records more “believable” images (Desowitz, 2). Whenever the directors take advantage of the limitlessness of virtual camera movements and properties, they do so showing something “magical” or something out of this world, but quickly return to “cinema reality” when they want to show something earthly, like human emotion or conversation between people.
So even though the virtual camera is available to speak with new narrative grammars, it has to adopt its language from the cinema to be understood and read correctly, as the narrative camera of traditional cinema adopted its language from the theater.
Cross Pollination of Narrative Grammars
While studying Roland Emmerich’s “10,000 BC” (Roland Emmerich, 2008), I came across other examples of cross pollination of grammars between the real and the virtual, like in the “evil bird” scene from “Popeye the Sailor meets Sindbad the Sailor”. In two of the scenes that are heavily dependent on its use of computer generated effects, they use slow motion with a low frame rate, as we know from action replays from sports on television. But in the battle scenes where the protagonist is focus, where there is no obvious use of computer generated effects to hide, the use a smooth slow motion to emphasize the emotions of the protagonist.
This shows that there is a constant borrowing of grammars between the real and the virtual, both in current and past productions, and that this has more to do with narrative functions than technological innovations.
This shows that there is a constant borrowing of grammars between the real and the virtual, both in current and past productions, and that this has more to do with narrative functions than technological innovations.
Virtual Camera in Modern Animation
“Tarzan” (Chris Buck and Kevin Lima, 1999) featured a new technology for projection painting for its time that allows dynamic camera movements without compromising on the classic visual style. Especially invented for “Tarzan”, the purpose of “Deep Canvas” is to create a painted image with depth perception which allowed the virtual camera to move into and turn around inside the painted backgrounds. What really distinguish the use of “Deep Canvas” contra the use of plain 3D backgrounds for the 2D animation, like those found in the demo of “Where the Wild Things Are”, is that they try to keep the feel and illusion that it’s all hand-drawn and painted even though it’s all computer generated. In short, they try to blend together a 3D virtual camera with the hand painted style of traditional Disney animations.
The story of “Tarzan” (Conan Doyle, 1912) was first printed in a magazine in 1912 and has since then been a target for many film adaptations. Disney’s version distinguishes itself by using the limitlessness of animation together with a liberated virtual camera moving through 3D space, to show Tarzan as an athlete and a superhuman adapted to life in the jungle as described in the original publication. This shows that the freedom of virtual camera opens up new narrative possibilities in storytelling, and that it can contribute to new cinematic grammars beyond working as a special effect tool.
Like “The Matrix”, “Tarzan” suggests new cinematic grammars for the virtual camera through “Deep Canvas”. But as with “The Matrix” it does not use the free roaming behavior of the virtual camera as a part of the generic narrative in the film, but more for helping to show off the acrobatic moves of the protagonist in the action sequences. Most notably in the scenes where Tarzan swings and slides through the jungle. “Deep Canvas” is also used to give an extra dramatic impact on certain scenes, like in the scene with the elephant stampede when the gorillas comes moving against the camera at the same time as the virtual camera is moving the camera backwards.
Like “Tarzan”, “The Matrix” uses the extraordinary camera behavior to emphasize the superhuman actions of the characters in the movie, but in “The Matrix” they also use it as a part of the narrative to tell the audience that what we see on screen is a virtual reality as well. They want us to know that the virtual camera is a virtual camera, because what we see is a virtual reality. But in “Tarzan” the goal was to not let the movements of the 3D virtual camera stand out from the rest of the movie, but rather to blend in with the rest of the narrative.
What is common with “Tarzan” and “The Matrix” is that they both use computer technology to open up the opportunities of playing with spatial dimensions in their respective traditional mediums. They both use virtual camera to emphasize space and movement. This shows that the unique narrative quality of a digitally constructed space is that it liberates the camera to do movements that that would be impossible to replicate in traditional mediums.
The story of “Tarzan” (Conan Doyle, 1912) was first printed in a magazine in 1912 and has since then been a target for many film adaptations. Disney’s version distinguishes itself by using the limitlessness of animation together with a liberated virtual camera moving through 3D space, to show Tarzan as an athlete and a superhuman adapted to life in the jungle as described in the original publication. This shows that the freedom of virtual camera opens up new narrative possibilities in storytelling, and that it can contribute to new cinematic grammars beyond working as a special effect tool.
Like “The Matrix”, “Tarzan” suggests new cinematic grammars for the virtual camera through “Deep Canvas”. But as with “The Matrix” it does not use the free roaming behavior of the virtual camera as a part of the generic narrative in the film, but more for helping to show off the acrobatic moves of the protagonist in the action sequences. Most notably in the scenes where Tarzan swings and slides through the jungle. “Deep Canvas” is also used to give an extra dramatic impact on certain scenes, like in the scene with the elephant stampede when the gorillas comes moving against the camera at the same time as the virtual camera is moving the camera backwards.
Like “Tarzan”, “The Matrix” uses the extraordinary camera behavior to emphasize the superhuman actions of the characters in the movie, but in “The Matrix” they also use it as a part of the narrative to tell the audience that what we see on screen is a virtual reality as well. They want us to know that the virtual camera is a virtual camera, because what we see is a virtual reality. But in “Tarzan” the goal was to not let the movements of the 3D virtual camera stand out from the rest of the movie, but rather to blend in with the rest of the narrative.
What is common with “Tarzan” and “The Matrix” is that they both use computer technology to open up the opportunities of playing with spatial dimensions in their respective traditional mediums. They both use virtual camera to emphasize space and movement. This shows that the unique narrative quality of a digitally constructed space is that it liberates the camera to do movements that that would be impossible to replicate in traditional mediums.
Old technology that simulates new technology and new technology that simulates old technology
“The Matrix” (Larry and Andy Wachowski, 1999) is a science fiction movie that in its storyline depicts a virtual world and a real world co-existing side by side. Since its storyline allowed for manipulation of the perceived reality inside the virtual world, it made a fabulous
testing ground for the use of new virtual camera techniques, without breaking with the cinematic grammar in the movie as a whole. Purposely breaking with traditional cinematic conventions in terms of camera behavior is done deliberately as an effect. What we see on-screen isn’t suppose to be a depiction of reality, but a virtual reality as in a computer game, where the traditions for camera behavior is different.
The virtual camera shots in “The Matrix” is done by using a set of still cameras placed in a circle around the actors on green screen. Each camera shoots a frame each. They then composite that with a digitally 3D modeled background, and when put together you get the illusion of a free roaming camera liberated in space and time. Since it is able to give the illusion of slowing down time so much that it is able to record (computer generated) gun bullets flying through the air, this virtual camera technique is referred to as “Bullet Time”.
While the virtual camera of “WALL-E” simulates old technology, the old technology of “The Matrix” simulates the possibilities of a free roaming virtual camera like the one they try to camouflage in “WALL-E”. It is interesting how cinema bends towards the freedoms of animation to become more interesting among the audience, while animation bends towards the restrictions of cinema to become more believable among the audience. The similarities are that they both use the camera narrative give the audience more information on-screen.
testing ground for the use of new virtual camera techniques, without breaking with the cinematic grammar in the movie as a whole. Purposely breaking with traditional cinematic conventions in terms of camera behavior is done deliberately as an effect. What we see on-screen isn’t suppose to be a depiction of reality, but a virtual reality as in a computer game, where the traditions for camera behavior is different.
The virtual camera shots in “The Matrix” is done by using a set of still cameras placed in a circle around the actors on green screen. Each camera shoots a frame each. They then composite that with a digitally 3D modeled background, and when put together you get the illusion of a free roaming camera liberated in space and time. Since it is able to give the illusion of slowing down time so much that it is able to record (computer generated) gun bullets flying through the air, this virtual camera technique is referred to as “Bullet Time”.
While the virtual camera of “WALL-E” simulates old technology, the old technology of “The Matrix” simulates the possibilities of a free roaming virtual camera like the one they try to camouflage in “WALL-E”. It is interesting how cinema bends towards the freedoms of animation to become more interesting among the audience, while animation bends towards the restrictions of cinema to become more believable among the audience. The similarities are that they both use the camera narrative give the audience more information on-screen.
Virtual Cinematography in 3D animation
Since ILM made technological inventions to liberate the analogue camera in terms of spatial movements in the 1970s, one would expect that Pixar would take advantage of the limitless freedom of the digital 3D virtual camera in the 1990s. But what I discover when studying the first fully digital 3D animated feature film, “Toy Story” (John Lasseter, 1995), is that it does little to explore the narrative possibilities of a truly virtual camera with its full spatial freedom.
With its cinematic cutting and marginal camera movements, it does nothing to expand upon the current cinematic grammar, as the classic cartoons did. Even though they had possibilities of full freedom of camera movement with no technical limitations holding them back, they still kept to the codes of the traditional cinema.
As a contrast, Disney’s animated test from the early 1980s by the same director, “Where the Wild Things Are” (John Lasseter, 1983), explores the possibilities of a virtual 3D space and the freedom of a virtual camera. “Where the Wild Things Are” is using digital 3D modeled backgrounds with digital 2D characters drawn on top of the final render. They utilize this to show off camera movements that would be practically impossible to do in traditional animation and cinema, using swooping camera movements like dolly and crane moves, pans and two 180 degree tilts in the opening shot. By doing these movements seamlessly in a long take, it introduces new grammars for a new medium. It show that what 3D graphics brings to the movies is the ability of freedom of movement and positioning in space (“Vanishing Point: Spatial Composition and the Virtual Camera”, Mike Jones, 2007).
Another animated short that is playing with the freedom of a virtual camera, is “Jumping” (Tezuka Osamu, 1983). Even though “Jumping” does not apply computer technology like “Toy Story”, it does demonstrate the possibilities of a camera free from the physical limits. The story is told through the eyes of the protagonist (first-person point of view) and it is all one seamless shot, where the protagonist starts by walking, and by each step he elevates a bit higher from the ground till the extremes where he starts from jumping over trees to jumping to different continents. The camera also does an 810 degree turn midair over a cityscape.
Although these two examples show an unbridled use of the possibilities of the animated or the virtual camera, these examples are few and far between. Cinematic grammars dominate and proscribe the actions of the virtual camera, even as it is free to explore any combination of motions. While animation is often the first to experiment with novel camerawork and spaces, it is nevertheless mostly constructed using traditional grammars.
By examine the production process of “WALL-E” (Andrew Stanton, 2008), I discover that Pixar took its conservative approach on the virtual camera even further. By hiring experienced cinematographers, they did an effort in simulating the trademarks, and weaknesses, of an analogue camera being operated by a camera man. They wanted to do this in order to make what is happening in the virtual world on-screen more convincing, or more authentic, for the audience. “I want to make you feel that you really was there!” comments the director Andrew Stanton (“WALL-E: Pixar Goes Space Age”, Pixar, 2008). What he suggests is that if you want to make the audience feel like they are present in the virtual cinematic space, just must communicate with them in with a traditional cinematic language, and through the lens of a 35 mm camera.
A good example of this approach is the scene where EVE is in the foreground searching for a plant, and WALL-E comes in to the picture, crashing with a lot of shopping carts in the background. The camera is initially focused on EVE, but when trying to get WALL-E into focus the virtual cameraman adjusts the lens too much making the picture blurry, and has to re-adjust. Another example is in the scene when EVE and WALL-E floats around in space, the camera acts like it is being controlled by a cameraman floating around with them. This approach pushes the use of the virtual camera forward in terms of “cinematic realism”, which is based on old cinematic grammars made for a different medium. Rather than creating a new language for a new medium, they are using the technical properties of a real camera as a part of the virtual camera narrative.
With its cinematic cutting and marginal camera movements, it does nothing to expand upon the current cinematic grammar, as the classic cartoons did. Even though they had possibilities of full freedom of camera movement with no technical limitations holding them back, they still kept to the codes of the traditional cinema.
As a contrast, Disney’s animated test from the early 1980s by the same director, “Where the Wild Things Are” (John Lasseter, 1983), explores the possibilities of a virtual 3D space and the freedom of a virtual camera. “Where the Wild Things Are” is using digital 3D modeled backgrounds with digital 2D characters drawn on top of the final render. They utilize this to show off camera movements that would be practically impossible to do in traditional animation and cinema, using swooping camera movements like dolly and crane moves, pans and two 180 degree tilts in the opening shot. By doing these movements seamlessly in a long take, it introduces new grammars for a new medium. It show that what 3D graphics brings to the movies is the ability of freedom of movement and positioning in space (“Vanishing Point: Spatial Composition and the Virtual Camera”, Mike Jones, 2007).
Another animated short that is playing with the freedom of a virtual camera, is “Jumping” (Tezuka Osamu, 1983). Even though “Jumping” does not apply computer technology like “Toy Story”, it does demonstrate the possibilities of a camera free from the physical limits. The story is told through the eyes of the protagonist (first-person point of view) and it is all one seamless shot, where the protagonist starts by walking, and by each step he elevates a bit higher from the ground till the extremes where he starts from jumping over trees to jumping to different continents. The camera also does an 810 degree turn midair over a cityscape.
Although these two examples show an unbridled use of the possibilities of the animated or the virtual camera, these examples are few and far between. Cinematic grammars dominate and proscribe the actions of the virtual camera, even as it is free to explore any combination of motions. While animation is often the first to experiment with novel camerawork and spaces, it is nevertheless mostly constructed using traditional grammars.
By examine the production process of “WALL-E” (Andrew Stanton, 2008), I discover that Pixar took its conservative approach on the virtual camera even further. By hiring experienced cinematographers, they did an effort in simulating the trademarks, and weaknesses, of an analogue camera being operated by a camera man. They wanted to do this in order to make what is happening in the virtual world on-screen more convincing, or more authentic, for the audience. “I want to make you feel that you really was there!” comments the director Andrew Stanton (“WALL-E: Pixar Goes Space Age”, Pixar, 2008). What he suggests is that if you want to make the audience feel like they are present in the virtual cinematic space, just must communicate with them in with a traditional cinematic language, and through the lens of a 35 mm camera.
A good example of this approach is the scene where EVE is in the foreground searching for a plant, and WALL-E comes in to the picture, crashing with a lot of shopping carts in the background. The camera is initially focused on EVE, but when trying to get WALL-E into focus the virtual cameraman adjusts the lens too much making the picture blurry, and has to re-adjust. Another example is in the scene when EVE and WALL-E floats around in space, the camera acts like it is being controlled by a cameraman floating around with them. This approach pushes the use of the virtual camera forward in terms of “cinematic realism”, which is based on old cinematic grammars made for a different medium. Rather than creating a new language for a new medium, they are using the technical properties of a real camera as a part of the virtual camera narrative.
Expanding the Cinematic Language through the invention of the Motion Controlled Camera
1977 marks a change for the cinema as “Star Wars: A New Hope” (George Lucas, 1977) takes the advantage of using a motion controlled camera invented by Industrial Light and Magic (ILM), called the Dykstraflex, which allowed programmable camera movements which were flexible, precise and for the first time repeatable. The Dystraflex allowed for different movements like roll, pan, tilt, swing, boom, traverse, track, and its had a programmable motor drive, and opened up the possibilities of more freedom in general camera movement, but most importantly it allowed them to animate huge miniatures (by moving the camera instead of moving the miniature) and because it was precise and repeatable it allowed several elements like miniatures and matte paintings to be filmed separately through a preprogrammed camera movement, allowing them the possibility to build up complex virtual scenes through compositing. This was a big step in bringing the virtual camera to the cinema, as its use of elaborate compositing opened up the doors for including animation in live action movies, thus expanding upon the cinematic language.
Virtual Camera in Classic Animation
“The Old Mill” (Wilfred Jackson, 1937) is a milestone in camera simulation in 2D animation as it is the first to take the use of a multi-plane setup that allows refined camera movements. This setup consists of up to seven glass layers of artwork and a moveable camera, this setup made it possible for a more versatile use than the Fleischer’s setup, as it was able to simulate that the camera was moving into and through the painted background. As in the Popeye short, “The Old Mill” is also using backgrounds that are painted with warped perspective to simulate turning or tilting. But it does it less subtle and more as an active part of the narrative, as with the crane shots from “Love Me Tonight”.
Right from the opening scene they show us the both potentials and limitations of the multi-plane cameras. While the virtual camera dollies in to the picture through the landscape and over the water, a shot that would be hard to duplicate in traditional cinema at that time, it still has to jump cut forward in motion four times to come to the end of the camera motion in to the picture, this could be seen as an artistic choice, but it had to be made because of the physical limitations of the multi-plane camera setup (as the physical camera cannot move through the glass plates that makes up the layers). Probably in an effort to enhance the feeling of depth and 3D space, elements in the scene comes out of focus as it gets close to the camera. This helps the audience to except the reality they see on screen, as it reminds them of how reality is depicted through a conventional camera.
Most notable is the third scene in the movie, where the virtual camera moves around inside the old mill. At first it’s tilted down moving upwards, and then it tilts up and dollies forward through the beams, before moving and tilting upwards. Some of the animals in this scene are responding and somewhat aware of the virtual camera and reacts to its presence. An interesting discovery is that although the movements of virtual camera in theory could be more floating, they are not, but they rather mimicked the style of the rigid movements the camera in traditional cinema at the time (tilting, turning, dollying and paning as separate movements). A possibly to reasons for this is that most of these movements were illusions in 2D space, and by not separate the camera movements to something the audience is already familiar with from cinema, the camera movements could be interpreted as confusing or in worst case not interpreted at all.
Right from the opening scene they show us the both potentials and limitations of the multi-plane cameras. While the virtual camera dollies in to the picture through the landscape and over the water, a shot that would be hard to duplicate in traditional cinema at that time, it still has to jump cut forward in motion four times to come to the end of the camera motion in to the picture, this could be seen as an artistic choice, but it had to be made because of the physical limitations of the multi-plane camera setup (as the physical camera cannot move through the glass plates that makes up the layers). Probably in an effort to enhance the feeling of depth and 3D space, elements in the scene comes out of focus as it gets close to the camera. This helps the audience to except the reality they see on screen, as it reminds them of how reality is depicted through a conventional camera.
Most notable is the third scene in the movie, where the virtual camera moves around inside the old mill. At first it’s tilted down moving upwards, and then it tilts up and dollies forward through the beams, before moving and tilting upwards. Some of the animals in this scene are responding and somewhat aware of the virtual camera and reacts to its presence. An interesting discovery is that although the movements of virtual camera in theory could be more floating, they are not, but they rather mimicked the style of the rigid movements the camera in traditional cinema at the time (tilting, turning, dollying and paning as separate movements). A possibly to reasons for this is that most of these movements were illusions in 2D space, and by not separate the camera movements to something the audience is already familiar with from cinema, the camera movements could be interpreted as confusing or in worst case not interpreted at all.
Virtual Cinematography in 2D animation
“Popeye the Sailor meets Sinbad the Sailor” was one of the animated shorts that used the Fleischer’s patented “Rotograph” camera setup. It used a horizontal multiplane camera setup, where the background (as well as middleground and forground) for the cartoon is actually modeled 3D miniatures in the same scale as the drawn cartoons. This gives a real stereoscopic depth of field when panning, also known as “parallax”.
It is clear that the cinematic narrative as found “Love Me Tonight” is evident in “Popeye the Sailor meets Sindbad the Sailor”, but the animated short adds further dynamic to the camera movements as it is not restricted to constructions such as a crane or a dolly to move the viewpoint in space.
In 2D animation, camera tilts and turns are done by using warped perspective in the background paintings, so when they are moved under the physical camera, you get a simulated tilt or turn. Such as in the opening scene of this animated short, where we are first introduced to island of Sindbad.
In the second shot of the first scene, we are presented with a camera tilt up from the “welcome sign” on the island, but the virtual camera is also moving in to the picture as it is tilting. Both physically by moving the real camera closer to the cels, and virtually by panning over the warped perspective on the painted background. The camera is following the winding road up to the castle for the first ten seconds of the scene, before slowing down its movement in depth and only continues tilting up to show the castle on the mountain top.
We are then presented with a long shot of the castle, a similar shot as to the long shot of Nosferatu’s castle in “Nosferatu” (F.W. Murnau, 1922). Then a medium shot from the same angle followed up by a close shot where the perspective is slightly different, as the angle of the viewpoint has slightly changed. A minor detail that enhance the illusion of a three dimensional world. In the following scene the camera follows Sindbad (the antagonist) as he walks across his island. Since the backgrounds are miniature models, the camera movement gives us a stereo-optical effect with a deep sense of depth and parallax, further enhancing the illusion of a three dimensional “reality”.
In the scene where Sindbad discovers Olive Oyl through his scope, we see the iris focusing in on Olive. It has a clear resemblance to the iris focus technique used in one of the romantic scenes in “Birth of a Nation” (D.W. Griffith, 1915).
The third time we see the evil bird fly in the sky, 6 minutes and 30 seconds into the movie, we see an interesting use of simulated camera. It is a mid shot of Sindbad’s evil bird who is flying in a circle up in the air screeching at Popeye’s ship (that is out of sight in this shot), while the camera is stationary it tilts and turns following the flight pattern of the bird. But the camera does not do so perfectly, it lags behind as if it is a filming of a real bird filmed by a cameraman who is a bit uncertain about the pace and direction the bird is flying, emulating the style of a shot from a nature documentary. By simulating the weaknesses of a real camera man in the movements of the virtual camera, it adds a layer of reality to the shot making it more believable as it fit with conventions the audience already know from the “reality” of nature documentaries in cinema.
These examples shows that the directors of traditional animation where mimicking the cinematography of different genres from cinema. By using a cross pollination of different from different genres in a production, they can play on conventions and grammar that the audience already know, and recall their associations to them in different shots as they see fitting by the narrative of the animation. By playing on conventions that are already being accepted as cinematic reality, they increase the believability of the constructed world.
Since the basic nature of the 2D animation in lacks real depth, I discovered that the animators compensate by using different techniques to give the constructed world a sense of three-dimensionality. Examples of these techniques are changing the angle of the viewpoint between shots, creating a parallaxing effect when panning, let action take place along the Z-axis of the viewpoint and building up a scene by positioning the action in the middleground while constructing the scene around it (in the foreground and background).
It is clear that the cinematic narrative as found “Love Me Tonight” is evident in “Popeye the Sailor meets Sindbad the Sailor”, but the animated short adds further dynamic to the camera movements as it is not restricted to constructions such as a crane or a dolly to move the viewpoint in space.
In 2D animation, camera tilts and turns are done by using warped perspective in the background paintings, so when they are moved under the physical camera, you get a simulated tilt or turn. Such as in the opening scene of this animated short, where we are first introduced to island of Sindbad.
In the second shot of the first scene, we are presented with a camera tilt up from the “welcome sign” on the island, but the virtual camera is also moving in to the picture as it is tilting. Both physically by moving the real camera closer to the cels, and virtually by panning over the warped perspective on the painted background. The camera is following the winding road up to the castle for the first ten seconds of the scene, before slowing down its movement in depth and only continues tilting up to show the castle on the mountain top.
We are then presented with a long shot of the castle, a similar shot as to the long shot of Nosferatu’s castle in “Nosferatu” (F.W. Murnau, 1922). Then a medium shot from the same angle followed up by a close shot where the perspective is slightly different, as the angle of the viewpoint has slightly changed. A minor detail that enhance the illusion of a three dimensional world. In the following scene the camera follows Sindbad (the antagonist) as he walks across his island. Since the backgrounds are miniature models, the camera movement gives us a stereo-optical effect with a deep sense of depth and parallax, further enhancing the illusion of a three dimensional “reality”.
In the scene where Sindbad discovers Olive Oyl through his scope, we see the iris focusing in on Olive. It has a clear resemblance to the iris focus technique used in one of the romantic scenes in “Birth of a Nation” (D.W. Griffith, 1915).
The third time we see the evil bird fly in the sky, 6 minutes and 30 seconds into the movie, we see an interesting use of simulated camera. It is a mid shot of Sindbad’s evil bird who is flying in a circle up in the air screeching at Popeye’s ship (that is out of sight in this shot), while the camera is stationary it tilts and turns following the flight pattern of the bird. But the camera does not do so perfectly, it lags behind as if it is a filming of a real bird filmed by a cameraman who is a bit uncertain about the pace and direction the bird is flying, emulating the style of a shot from a nature documentary. By simulating the weaknesses of a real camera man in the movements of the virtual camera, it adds a layer of reality to the shot making it more believable as it fit with conventions the audience already know from the “reality” of nature documentaries in cinema.
These examples shows that the directors of traditional animation where mimicking the cinematography of different genres from cinema. By using a cross pollination of different from different genres in a production, they can play on conventions and grammar that the audience already know, and recall their associations to them in different shots as they see fitting by the narrative of the animation. By playing on conventions that are already being accepted as cinematic reality, they increase the believability of the constructed world.
Since the basic nature of the 2D animation in lacks real depth, I discovered that the animators compensate by using different techniques to give the constructed world a sense of three-dimensionality. Examples of these techniques are changing the angle of the viewpoint between shots, creating a parallaxing effect when panning, let action take place along the Z-axis of the viewpoint and building up a scene by positioning the action in the middleground while constructing the scene around it (in the foreground and background).
Liberated Camera View in Classic Cinema
Being made the same year as the invention of the zoom lens, “Love Me Tonight” contains the first zoom shot in a feature film. In the opening scene, when establishing the early in the morning in Paris, the camera zooms in on a couple of chimneys. At the end of the zoom, the chimneys let out smoke, before the movie proceeds to the next shot of the scene.
“Love Me Tonight” is using the crane to liberate the camera into movements in space. In the scene where we are introduced to the protagonist, the camera floats mid-air through his window into his bedroom. It is as possesses a life on its own, it is an active part of the narrative. This effect is used through the movie as the camera rather tilts and turns from a situation to the next. Most notable is this effect in the scene at the chateau, where the camera floats through the bedroom and then tilts down the sleeping protagonist, as through the eyes of a person moving through the room.
What these examples shows is that in classic cinema the films took advantage of new technical solutions as they got available to them, and used them to explore the camera narrative as well as to liberate the camera in terms of spatial movements. This shows that the idea of a free roaming camera existed in the 1930s’ cinema.
“Love Me Tonight” also employs effects such as slow- and fast-motion shots. Fast-motion is used to increase the feeling of intensity of when the princess is riding her horse to catch the train. Slow-motion is used in the scene when all the horse riders are on their way to ride offscreen, to enhance the dramatic shot of all the galloping horses and to give the viewer time to read what is happening onscreen.
This shows that it was a clear distinction between a special effect shot and regular shot also in classic cinema.
“Love Me Tonight” is using the crane to liberate the camera into movements in space. In the scene where we are introduced to the protagonist, the camera floats mid-air through his window into his bedroom. It is as possesses a life on its own, it is an active part of the narrative. This effect is used through the movie as the camera rather tilts and turns from a situation to the next. Most notable is this effect in the scene at the chateau, where the camera floats through the bedroom and then tilts down the sleeping protagonist, as through the eyes of a person moving through the room.
What these examples shows is that in classic cinema the films took advantage of new technical solutions as they got available to them, and used them to explore the camera narrative as well as to liberate the camera in terms of spatial movements. This shows that the idea of a free roaming camera existed in the 1930s’ cinema.
“Love Me Tonight” also employs effects such as slow- and fast-motion shots. Fast-motion is used to increase the feeling of intensity of when the princess is riding her horse to catch the train. Slow-motion is used in the scene when all the horse riders are on their way to ride offscreen, to enhance the dramatic shot of all the galloping horses and to give the viewer time to read what is happening onscreen.
This shows that it was a clear distinction between a special effect shot and regular shot also in classic cinema.
Historical Antecedents of the Animated Camera
“Gertie the Dinosaur” follows the style of the early cinema (also known as primitive cinema), which had a static camera where all the actions is played out in a very frontal style (“Frankenstein”, J. Searle Dawley, 1909), not unlike traditional theatre. An interesting point is that since McCay didn’t use cels in this short, and therefore had to redraw everything on screen on each frame, he had no restraints keeping him from creating a simulated camera movement, but he kept to the presentational style of primitive cinema. It is also interesting that the world he constructed is three dimensional many of the actions taking place along the Z-axis (in the depth of field). As with silent movies of that time, McCay uses black slides with white text as intertitles, to do the dialogue.
While “Gertie the Dinosaur” follows the style of early cinema, “The Sinking of Lusitania” is stylized as a documentary, and it is using intertitles in between the animated sequences as a narration to what is happening. It is an early example of virtual cinematography. McCay uses animation as a medium to recreate a historic event where a German submarine attacks an American ship. The animated short places a virtual camera in positions where it would be impossible for real camera to be. Most notably is the scene where the virtual camera is looking out from a window of the ship while it “records” the torpedo coming towards it, but also in more subtitle ways like when the submarine is passing underneath it.
Both these examples shows that animation from its early days has been used as a medium to construct “reality”, that is was used to depict elements, actions and effects that cinema could not. Noteworthy is that they are both following the narrative style of their live-action counterparts.
While “Gertie the Dinosaur” follows the style of early cinema, “The Sinking of Lusitania” is stylized as a documentary, and it is using intertitles in between the animated sequences as a narration to what is happening. It is an early example of virtual cinematography. McCay uses animation as a medium to recreate a historic event where a German submarine attacks an American ship. The animated short places a virtual camera in positions where it would be impossible for real camera to be. Most notably is the scene where the virtual camera is looking out from a window of the ship while it “records” the torpedo coming towards it, but also in more subtitle ways like when the submarine is passing underneath it.
Both these examples shows that animation from its early days has been used as a medium to construct “reality”, that is was used to depict elements, actions and effects that cinema could not. Noteworthy is that they are both following the narrative style of their live-action counterparts.
Virtual Camera and its narrative functions in animation and cinema
With the introduction of digital 3D animation in cinema and animation, there are no longer any limits to the freedom of camera movements and behaviors available to the director. Still constraints exist that keep the animated camera, with its possibilities to explore and construct any space and time, grounded to mimic the properties of its mechanical cousin.
This research is an attempt to examine how virtual cinematography is being used in animation and cinema in order to show its potential. I will do so by studying technological innovation and achievements in the use of narrative camera in both animation and cinema.
In “The Language of New Media” (Lev Manovich, 2001), Lev Manovich claims that “we do expect computer narratives to showcase new aesthetic possibilities that did not exist before digital computers” (Manovich, 237). He also claims that the directors refuse to give up the unique “cinema-effect” (Manovich, 310), an effect which according to Manovich depends upon three factors: the narrative form, the “reality” effect and the cinema’s architectural arrangement all working together.
This research will follow Manovich’s lead and discuss what role camera and constructed space plays in classic animation compared to modern animation and digital cinema.
Background
Lev Manovich, a professor at the Visual Arts Department at UCSD, gives us a critical insight into animation, cinema and compositing in his work “What is Digital Cinema?” (Lev Manovich, 1995), “Cinema and Digital Media” (Lev Manovich, 1996), “Assembling Reality: Myth of Computer Graphics” (Lev Manovich, 1999) and “The Language of New Media” (Lev Manovich, 2001).
In this research I am going to examine behavior of virtual camera in its relationship with the cinematic camera and constructed space. The term “virtual camera” is commonly used when describing the viewport of a computer generated 3D virtual space (“What is Digital Cinema?”, Lev Manovich,1995) and is used in related research papers when addressing topics surrounding simulated camera in computer animation (“Vanishing Point: Spatial Composition and the Virtual Camera”, Mike Jones, 2007).
“Virtual” is a term that is a reference to things that mimic their "real" equivalents, in this case a camera. So for the sake of this discussion I will use the term “virtual camera” as a broader definition than in those examples mentioned above, as this research will focus on simulated camera behavior and movement in constructed space in traditional 2D and digital 3D animation, as well as by motion control rigs and photo camera arrays. The similarity between these four different mediums is that they all simulate the functions of a cinematic camera, but in a constructed space.
I do not define the virtual camera as a thing by itself, but rather as the simulation of the properties of a real camera, in its relationship to its constructed environment. This phenomenon arises for examples when mimicking cinematic camera conventions through the viewport of a 3D renderer or when 160 photo cameras simulate one cinematic camera.
With the term “digital cinema” I refer to Lev Manovich’s definition. Manovich defines it as a cinematic production that has been digitally composited, where live-action material is composited with digital image processing, painting and animation.
Design of Work
In this research I will examine the specific grammars of virtual cinematography by studying technological innovation and achievements in the use of camera movements in both animation and cinema.
I will use the articles “What is Digital Cinema?” (Lev Manovich, 1991) and the book “The Language of New Media” (Lev Manovich, 2001) as primary sources for arguments about narrative grammars and cinematic reality. Both discuss the emergence of digital cinema and new media and their relationship with traditional mediums. Specifically I will take up Manovich’s discussion on the part virtual camera plays in this emergent context. I will also use “The Mouse Machine” (J.P. Telotte, 2008) as a secondary source in order to examine the history of animated cinema in order to find instances of the emergence of a virtual camera.
In order to examine the relationship between technical innovation and its relationship to changes in narrative grammar, I will look at the productions that introduced new narrative or technological innovation. I will attempt to use my findings to discuss how and where virtual cinematography is being used and how its properties are being explored, in order to show the differences and similarities between grammar of animated, virtual and cinematic camera.
Specifically I will examine the animated works “Gertie the Dinosaur” (Winsor McCay, 1914), “The Sinking of the Lusitania” (Winsor McCay, 1918), “Popeye the Sailor meets Sinbad the Sailor” (David Fleischer, 1936), “The Old Mill” (Wilfred Jackson, 1937), “Toy Story” (John Lassenter, 1995), “Tarzan” (Kevin Lima and Chris Buck, 1999) and “WALL-E” (Andrew Stanton, 2008). And I will be examine the cinematic productions “Love Me Tonight” (Rouben Mamoulian, 1932), “Star Wars: A New Hope” (George Lucas, 1977), “The Matrix” (Larry and Andy Wachowski, 1999) and “10,000 BC” (Roland Emmerich, 2008).
I will follow Lev Manovich’s lead and ask: What role does camera and constructed space play in classic animation compared to modern animation? How does the virtual camera in digital cinema represent a shift in the narrative grammar? In what ways has cinema introduced virtual spaces into its grammar?
Results
Cinema has always been about creating illusions, but at the same time they have hidden the illusions and special effects behind an accepted “reality” associated with traditional cinematic grammar.
In a way, little has changed since the 1930s. Unorthodox camera behaviors are being reserved for “special effects” shots, constructed virtual space is reserved for the “fantastical” and high-budget animated productions are still working hard to mimic the conventions of live-action cinema. This is because productions today still follow the same cinematic grammar as then.
Virtual camera as a part of cinema, still obeys these conventions. Where camera movements are liberated in space, which is the unique quality virtual camera contributes to cinema, it is used to promote an “out-of-this-world”-feel (“The Matrix) or a depiction of something “fantastical” (“Star Wars: A New Hope”).
Discussion
It is no longer the mechanical constructions available to the cinematographers, but the creativity and visions of the directors that set the boundaries of what is possible to depict in cinema. Pixar-director Andrew Stanton claims that since “The Lord of the Rings: The Fellowship of the Ring” (Peter Jackson, 2001), it is no longer any technical obstacles when it comes to creating photo realistic virtual worlds. But the cinematic language does not change in pace with the technological inventions. Digital cinema still depends on the “reality effect” the use of the traditional cinematic grammars brings to the screen.
Virtual cinematography as a part of digital cinema is superset to traditional cinematography in that aspect as with digital cinema, the directors have full artistic freedom to compose (and recompose) a scene. And as upcoming movies like “Avatar” (James Cameron, 2009) are using virtual camera to diffuse the borders between animation and live-action, I am certain that the use of the freedom of virtual camera in cinema and animation will broaden beyond the use as a special effect, and with that the grammars for what is accepted as screen reality will change.
Conclusion
With the introduction of digital 3D animation, there are no longer any limits to the freedom of virtual camera in digital cinema. But cinematic grammar keeps the virtual camera grounded to mimic the properties of its mechanical cousin, or to stand out proposing an “out-of-this-world”-feel. If current cinematic grammar is going to change drastically, cinema narrative has to be influenced by the narrative grammar of computer games, and thus introducing the spatial limitlessness of virtual camera as part of the convention for cinematic reality.
It will be interesting to see how virtual camera’s shift from post-production to the real-time recording in upcoming productions like “Avatar”, will contribute to create new narrative grammar specific for virtual camera in cinema and animation. As generations now grow up understanding and accepting new media languages, the virtual and computer generated will be more accepted as “reality”, without the need to hide behind old cinematic conventions to make them believable.
A further way to improve on this research will be to take the inclusion of music videos, anime, comic books and 3D cinema into to the study. It would also be interesting to compare the history camera narrative in computer games to the camera narrative in cinema and animation. A free roaming virtual camera is a natural part of the computer game narrative, so we have to look at current computer games to get a glimpse at the possibilities of future cinematic conventions for the virtual camera.
This research is an attempt to examine how virtual cinematography is being used in animation and cinema in order to show its potential. I will do so by studying technological innovation and achievements in the use of narrative camera in both animation and cinema.
In “The Language of New Media” (Lev Manovich, 2001), Lev Manovich claims that “we do expect computer narratives to showcase new aesthetic possibilities that did not exist before digital computers” (Manovich, 237). He also claims that the directors refuse to give up the unique “cinema-effect” (Manovich, 310), an effect which according to Manovich depends upon three factors: the narrative form, the “reality” effect and the cinema’s architectural arrangement all working together.
This research will follow Manovich’s lead and discuss what role camera and constructed space plays in classic animation compared to modern animation and digital cinema.
Background
Lev Manovich, a professor at the Visual Arts Department at UCSD, gives us a critical insight into animation, cinema and compositing in his work “What is Digital Cinema?” (Lev Manovich, 1995), “Cinema and Digital Media” (Lev Manovich, 1996), “Assembling Reality: Myth of Computer Graphics” (Lev Manovich, 1999) and “The Language of New Media” (Lev Manovich, 2001).
In this research I am going to examine behavior of virtual camera in its relationship with the cinematic camera and constructed space. The term “virtual camera” is commonly used when describing the viewport of a computer generated 3D virtual space (“What is Digital Cinema?”, Lev Manovich,1995) and is used in related research papers when addressing topics surrounding simulated camera in computer animation (“Vanishing Point: Spatial Composition and the Virtual Camera”, Mike Jones, 2007).
“Virtual” is a term that is a reference to things that mimic their "real" equivalents, in this case a camera. So for the sake of this discussion I will use the term “virtual camera” as a broader definition than in those examples mentioned above, as this research will focus on simulated camera behavior and movement in constructed space in traditional 2D and digital 3D animation, as well as by motion control rigs and photo camera arrays. The similarity between these four different mediums is that they all simulate the functions of a cinematic camera, but in a constructed space.
I do not define the virtual camera as a thing by itself, but rather as the simulation of the properties of a real camera, in its relationship to its constructed environment. This phenomenon arises for examples when mimicking cinematic camera conventions through the viewport of a 3D renderer or when 160 photo cameras simulate one cinematic camera.
With the term “digital cinema” I refer to Lev Manovich’s definition. Manovich defines it as a cinematic production that has been digitally composited, where live-action material is composited with digital image processing, painting and animation.
Design of Work
In this research I will examine the specific grammars of virtual cinematography by studying technological innovation and achievements in the use of camera movements in both animation and cinema.
I will use the articles “What is Digital Cinema?” (Lev Manovich, 1991) and the book “The Language of New Media” (Lev Manovich, 2001) as primary sources for arguments about narrative grammars and cinematic reality. Both discuss the emergence of digital cinema and new media and their relationship with traditional mediums. Specifically I will take up Manovich’s discussion on the part virtual camera plays in this emergent context. I will also use “The Mouse Machine” (J.P. Telotte, 2008) as a secondary source in order to examine the history of animated cinema in order to find instances of the emergence of a virtual camera.
In order to examine the relationship between technical innovation and its relationship to changes in narrative grammar, I will look at the productions that introduced new narrative or technological innovation. I will attempt to use my findings to discuss how and where virtual cinematography is being used and how its properties are being explored, in order to show the differences and similarities between grammar of animated, virtual and cinematic camera.
Specifically I will examine the animated works “Gertie the Dinosaur” (Winsor McCay, 1914), “The Sinking of the Lusitania” (Winsor McCay, 1918), “Popeye the Sailor meets Sinbad the Sailor” (David Fleischer, 1936), “The Old Mill” (Wilfred Jackson, 1937), “Toy Story” (John Lassenter, 1995), “Tarzan” (Kevin Lima and Chris Buck, 1999) and “WALL-E” (Andrew Stanton, 2008). And I will be examine the cinematic productions “Love Me Tonight” (Rouben Mamoulian, 1932), “Star Wars: A New Hope” (George Lucas, 1977), “The Matrix” (Larry and Andy Wachowski, 1999) and “10,000 BC” (Roland Emmerich, 2008).
I will follow Lev Manovich’s lead and ask: What role does camera and constructed space play in classic animation compared to modern animation? How does the virtual camera in digital cinema represent a shift in the narrative grammar? In what ways has cinema introduced virtual spaces into its grammar?
Results
Cinema has always been about creating illusions, but at the same time they have hidden the illusions and special effects behind an accepted “reality” associated with traditional cinematic grammar.
In a way, little has changed since the 1930s. Unorthodox camera behaviors are being reserved for “special effects” shots, constructed virtual space is reserved for the “fantastical” and high-budget animated productions are still working hard to mimic the conventions of live-action cinema. This is because productions today still follow the same cinematic grammar as then.
Virtual camera as a part of cinema, still obeys these conventions. Where camera movements are liberated in space, which is the unique quality virtual camera contributes to cinema, it is used to promote an “out-of-this-world”-feel (“The Matrix) or a depiction of something “fantastical” (“Star Wars: A New Hope”).
Discussion
It is no longer the mechanical constructions available to the cinematographers, but the creativity and visions of the directors that set the boundaries of what is possible to depict in cinema. Pixar-director Andrew Stanton claims that since “The Lord of the Rings: The Fellowship of the Ring” (Peter Jackson, 2001), it is no longer any technical obstacles when it comes to creating photo realistic virtual worlds. But the cinematic language does not change in pace with the technological inventions. Digital cinema still depends on the “reality effect” the use of the traditional cinematic grammars brings to the screen.
Virtual cinematography as a part of digital cinema is superset to traditional cinematography in that aspect as with digital cinema, the directors have full artistic freedom to compose (and recompose) a scene. And as upcoming movies like “Avatar” (James Cameron, 2009) are using virtual camera to diffuse the borders between animation and live-action, I am certain that the use of the freedom of virtual camera in cinema and animation will broaden beyond the use as a special effect, and with that the grammars for what is accepted as screen reality will change.
Conclusion
With the introduction of digital 3D animation, there are no longer any limits to the freedom of virtual camera in digital cinema. But cinematic grammar keeps the virtual camera grounded to mimic the properties of its mechanical cousin, or to stand out proposing an “out-of-this-world”-feel. If current cinematic grammar is going to change drastically, cinema narrative has to be influenced by the narrative grammar of computer games, and thus introducing the spatial limitlessness of virtual camera as part of the convention for cinematic reality.
It will be interesting to see how virtual camera’s shift from post-production to the real-time recording in upcoming productions like “Avatar”, will contribute to create new narrative grammar specific for virtual camera in cinema and animation. As generations now grow up understanding and accepting new media languages, the virtual and computer generated will be more accepted as “reality”, without the need to hide behind old cinematic conventions to make them believable.
A further way to improve on this research will be to take the inclusion of music videos, anime, comic books and 3D cinema into to the study. It would also be interesting to compare the history camera narrative in computer games to the camera narrative in cinema and animation. A free roaming virtual camera is a natural part of the computer game narrative, so we have to look at current computer games to get a glimpse at the possibilities of future cinematic conventions for the virtual camera.
”Disney's Tarzan” in relation to the Mythic Circle
Disney's Tarzan describes the adventure of an orphaned infant raised by gorillas. A quite different story than The Lord of The Rings with a much more limited gallery of characters. The real events in the movie are few but major, which makes it hard to separate them into a specific stage in the Mythic Circle.
1. The Ordinary World
”The hero is introduced, the audience is obliged to ask themselves the question - “Who do I identify with?”. The hero is commonly restless and not fitting into the background against which they are placed. ”
Tarzan, still just an infant, gets his parents killed by a leopard and is being saved, adopted and raised by the female gorilla, Kala. Tarzan befriends the other animals, most noteably the gorilla Terk and the elephant Tantor. Tarzan takes a lot of effort in selfimprovement as he struggles to keep up with them.
2. Call to Adventure
”Something big is about to happen, a herald appears to summon our Hero forth. The audience ask themselves - “Who/what is this?” “What will now change?”.”
The life in the jungle is about to change as a group of explorers arrives. Professor Porter and his daughter Jane, is accompanied by the triggerhappy Clayton. Jane gets lost and Tarzan saves her from a gang of baboons. Through her he’s being exposed to the world and existence of humans.
3. Refuse the Call to Adventure
”The audience is given a list of reasons why it’s not possible to follow the call, they signal to the audience that the quest is challenging and may bring fear and danger.”
Kerchak warns Tarzan and tell him to stay away from the humans, as they may be a major threat to the safety of gorillas.
4. Enter the Mentor
”This entity acts as a guide to help the hero through their ordeal.”
Through Jane and Porter, Tarzan learns about world according to the western society as well as how to speak English. But his real guide giving him advise is Kala, his gorilla mother, telling him to follow his heart and is the one to introduce him to his past.
5. Crossing the Threshold
”The crossing may be voluntary or involuntary. Perhaps the mentor provides the impetus, or the villain pushes the hero into action with another dastardly act. The hero up until now may have resisted, but this is the final straw.”
When the ship arrives to pick up Jane, Porter and Clayton, bringing them back to England, Clayton (villain) convinces Tarzan (hero) that if he leads them to the gorillas, Jane will stay with him. Tarzan agrees and lead the humans to the gorillas. Meanwhile, Tarzan’s animal friends is tricking Kerchak (threshold) away from the other gorillas.
6. Tests/Allies/Enemies + 7. The Approach
” In giving a brief glimpse of their colours the audiences is able to fleetingly see what the hero’s capabilities are. Now that we’re in the New World we see its different values, currency, locations, rules and characters. The audience (and the hero) have to determine who can be trusted/not trusted.”
”The hero approaches the central ordeal, and the flow of the story pauses. The hero (and the audience) are asked - “Are we really committed, do we really want to go on with the journey?” This is the planning and reconaissance stage where bonding/intimacy/humor may occur. The masks characters have been wearing will shift or change and the audience is able to appreciate other aspects ?deeper character attributes.”
As the humans mingle with the gorillas, a furrious Kerchak returns. This event tests the alliance and personality of both Tarzan and Kerchak. Tarzan uses force to hold down Kerchak to protect the humans while they are running of. This action alienates Tarzan from the rest of the gorillas, as he is using offensive force against their previously common leader. Having nothing to lose, Kala shows Tarzan the house where his parents lived, and as a mentor encourage him to leave with Jane and Porter.
8. Death and Rebirth
”The hero (usually goes somewhere) and confronts death, and may appear to die. • Others of the hero’s team/band lament thinking that the hero is now lost to the. ”
Arriving at the ship, the humans led by Tarzan is ambushed and captured by Clayton and his pirates, who plans to capture and sell the gorillas. His animal friends hear Tarzan’s cries for help, but Turk still upset about Tarzan’s interaction with the humans is about to leave Tarzan trapped, when Tantor pushes them both in the water to break Tarzan, Jane and Porter free.
9. Reward/Payoff for having survived death
”The cause for celebration, a chance for ego inflation and to assume “immortality status”. The hero gains more power, there is the opportunity for intimacy/comedy - a reaction or contrast to stage 8.”
Tarzan and the others all rush back into the jungle, back to the gorillas. Kerchak and Tarzan for the first time join forces and together battle Clayton.
10. The Road Back
”Reassertion of why the journey was undertaken, which may come from whatever force was stirred up initially. The opportunity for a counter-punch. Typically this stage involves chase scenes.”
Clayton shoots Kerchak and chases Tarzan into a dense part of the jungle, where Clayton accidently gets a vine wrapped around his neck and hangs himself. Rushing back, Kerchak announces Tarzan as the new leader for the gorillas before he dies.
11. Resurrection
”The “Going out from the Hunt and Returning Stage”. Typically the hero(s) are set apart and may then go through another death and rebirth ordeal which further reinforces their separateness. There is commonly an element of judgement at this stage.”
As Jane and her father is preparing to leave the jungle on the ship, Tarzan tells them he will be staying in the jungle with the gorillas. But as the ship leaves Jane and Porter jumps overboard and swim back to land.
12. Return with the Elixir
”Will typically involve - a reward for the ordeal, distribution of gifts/prizes, returning something unselfishly to the group, a time for farewells and perhaps reacquaintance with the trajic hero who is doomed to repeat the adventure, if for instance they refused the initial call. It is also a chance for the audience and the hero to take stock, to say “we’ve been somewhere and we can compare our world to there”.”
The two new humans are accepted among the gorillas and Tarzan gets his girl and his new role as king of the jungle.
A little experiment
What happens to the story of Tarzan if we remove a character from the plot? If we remove the antagonist, Clayton, Tarzan would than not end up as the leader of the group of gorillas as Kerchak would still be alive. Without Clayton convincing Tarzan, Jane and the professor would not have the chance to be introduced to them either. So they would head back to London instead of be staying in the jungle. As he would already be alienated from the gorillas by his recent actions, Tarzan would be likely to follow Jane back to civilisation.
1. The Ordinary World
”The hero is introduced, the audience is obliged to ask themselves the question - “Who do I identify with?”. The hero is commonly restless and not fitting into the background against which they are placed. ”
Tarzan, still just an infant, gets his parents killed by a leopard and is being saved, adopted and raised by the female gorilla, Kala. Tarzan befriends the other animals, most noteably the gorilla Terk and the elephant Tantor. Tarzan takes a lot of effort in selfimprovement as he struggles to keep up with them.
2. Call to Adventure
”Something big is about to happen, a herald appears to summon our Hero forth. The audience ask themselves - “Who/what is this?” “What will now change?”.”
The life in the jungle is about to change as a group of explorers arrives. Professor Porter and his daughter Jane, is accompanied by the triggerhappy Clayton. Jane gets lost and Tarzan saves her from a gang of baboons. Through her he’s being exposed to the world and existence of humans.
3. Refuse the Call to Adventure
”The audience is given a list of reasons why it’s not possible to follow the call, they signal to the audience that the quest is challenging and may bring fear and danger.”
Kerchak warns Tarzan and tell him to stay away from the humans, as they may be a major threat to the safety of gorillas.
4. Enter the Mentor
”This entity acts as a guide to help the hero through their ordeal.”
Through Jane and Porter, Tarzan learns about world according to the western society as well as how to speak English. But his real guide giving him advise is Kala, his gorilla mother, telling him to follow his heart and is the one to introduce him to his past.
5. Crossing the Threshold
”The crossing may be voluntary or involuntary. Perhaps the mentor provides the impetus, or the villain pushes the hero into action with another dastardly act. The hero up until now may have resisted, but this is the final straw.”
When the ship arrives to pick up Jane, Porter and Clayton, bringing them back to England, Clayton (villain) convinces Tarzan (hero) that if he leads them to the gorillas, Jane will stay with him. Tarzan agrees and lead the humans to the gorillas. Meanwhile, Tarzan’s animal friends is tricking Kerchak (threshold) away from the other gorillas.
6. Tests/Allies/Enemies + 7. The Approach
” In giving a brief glimpse of their colours the audiences is able to fleetingly see what the hero’s capabilities are. Now that we’re in the New World we see its different values, currency, locations, rules and characters. The audience (and the hero) have to determine who can be trusted/not trusted.”
”The hero approaches the central ordeal, and the flow of the story pauses. The hero (and the audience) are asked - “Are we really committed, do we really want to go on with the journey?” This is the planning and reconaissance stage where bonding/intimacy/humor may occur. The masks characters have been wearing will shift or change and the audience is able to appreciate other aspects ?deeper character attributes.”
As the humans mingle with the gorillas, a furrious Kerchak returns. This event tests the alliance and personality of both Tarzan and Kerchak. Tarzan uses force to hold down Kerchak to protect the humans while they are running of. This action alienates Tarzan from the rest of the gorillas, as he is using offensive force against their previously common leader. Having nothing to lose, Kala shows Tarzan the house where his parents lived, and as a mentor encourage him to leave with Jane and Porter.
8. Death and Rebirth
”The hero (usually goes somewhere) and confronts death, and may appear to die. • Others of the hero’s team/band lament thinking that the hero is now lost to the. ”
Arriving at the ship, the humans led by Tarzan is ambushed and captured by Clayton and his pirates, who plans to capture and sell the gorillas. His animal friends hear Tarzan’s cries for help, but Turk still upset about Tarzan’s interaction with the humans is about to leave Tarzan trapped, when Tantor pushes them both in the water to break Tarzan, Jane and Porter free.
9. Reward/Payoff for having survived death
”The cause for celebration, a chance for ego inflation and to assume “immortality status”. The hero gains more power, there is the opportunity for intimacy/comedy - a reaction or contrast to stage 8.”
Tarzan and the others all rush back into the jungle, back to the gorillas. Kerchak and Tarzan for the first time join forces and together battle Clayton.
10. The Road Back
”Reassertion of why the journey was undertaken, which may come from whatever force was stirred up initially. The opportunity for a counter-punch. Typically this stage involves chase scenes.”
Clayton shoots Kerchak and chases Tarzan into a dense part of the jungle, where Clayton accidently gets a vine wrapped around his neck and hangs himself. Rushing back, Kerchak announces Tarzan as the new leader for the gorillas before he dies.
11. Resurrection
”The “Going out from the Hunt and Returning Stage”. Typically the hero(s) are set apart and may then go through another death and rebirth ordeal which further reinforces their separateness. There is commonly an element of judgement at this stage.”
As Jane and her father is preparing to leave the jungle on the ship, Tarzan tells them he will be staying in the jungle with the gorillas. But as the ship leaves Jane and Porter jumps overboard and swim back to land.
12. Return with the Elixir
”Will typically involve - a reward for the ordeal, distribution of gifts/prizes, returning something unselfishly to the group, a time for farewells and perhaps reacquaintance with the trajic hero who is doomed to repeat the adventure, if for instance they refused the initial call. It is also a chance for the audience and the hero to take stock, to say “we’ve been somewhere and we can compare our world to there”.”
The two new humans are accepted among the gorillas and Tarzan gets his girl and his new role as king of the jungle.
A little experiment
What happens to the story of Tarzan if we remove a character from the plot? If we remove the antagonist, Clayton, Tarzan would than not end up as the leader of the group of gorillas as Kerchak would still be alive. Without Clayton convincing Tarzan, Jane and the professor would not have the chance to be introduced to them either. So they would head back to London instead of be staying in the jungle. As he would already be alienated from the gorillas by his recent actions, Tarzan would be likely to follow Jane back to civilisation.
”The Lord of the Rings” in relation to the Mythic Circle
The Lord of the Rings trilogy is three feature films based on the book with the same name that describes a quest to destroy a powerful and corruptous ring, making the wearer invisible. We wil try to split up the plot in the Lord of the Rings trilogy and relate it to the 12 stages of the Mythic Circle, as propounded by Joseph Campbell. As we will see, it easily conforms to the Mythic Circle approach even though some stages might be a bit overlapping. Sometimes maybe because of the strong character gallery in The Lord of The Rings. We could do a Mythic Circle approach for each major character as many of them have their own goals and journey in the story.
1. The Ordinary World
”The hero is introduced, the audience is obliged to ask themselves the question - “Who do I identify with?”. The hero is commonly restless and not fitting into the background against which they are placed. ”
The protagonist Frodo lost both his parents at a young age and was adopted by his uncle Bilbo, an excentric outsider in the hobbit community of the Shire.
2. Call to Adventure
”Something big is about to happen, a herald appears to summon our Hero forth. The audience ask themselves - “Who/what is this?” “What will now change?”.”
During Bilbo’s birthday party, he hands over the ring to Frodo, in a suspiciously reluctant manner, which inspires Gandalf to search for the true nature behind the ring. Gandalf returns to the Shire to tell Frodo that it was infact the ring made by Sauron (the antagonist), who wants his ring back to become powerful again and conquer Middle-earth. Frodo decides to leave and take the ring to Rivendell, home of a mighty elf lord. Frodo leaves with some of his friends, most importantly Sam.
3. Refuse the Call to Adventure
”The audience is given a list of reasons why it’s not possible to follow the call, they signal to the audience that the quest is challenging and may bring fear and danger.”
The nine Riders, Sauron's undead and most powerful servants, are sent out in the quest to find the ring. Frodo escapes just in time and is nearly intercepted. But knowing that the Riders have reached the Shire, their hometown is no longer safe and there is no way back without finishing of the mission they have started.
4. Enter the Mentor
”This entity acts as a guide to help the hero through their ordeal.”
In the village of Bree, Frodo meets Aragorn. He saves the hobbits from an attack by the Riders, and becomes their guide and protector on the remaining journey towards Rivendell.
5. Crossing the Threshold
”The crossing may be voluntary or involuntary. Perhaps the mentor provides the impetus, or the villain pushes the hero into action with another dastardly act. The hero up until now may have resisted, but this is the final straw.”
While camping they are attacked by the Riders and Frodo uses the corruptous ring before being stabbed by an magic blade, that will turn him into a evil wraith if not healed. Once again, Aragorn helps them to.
6. Tests/Allies/Enemies
” In giving a brief glimpse of their colours the audiences is able to fleetingly see what the hero’s capabilities are. Now that we’re in the New World we see its different values, currency, locations, rules and characters. The audience (and the hero) have to determine who can be trusted/not trusted.”
In Rivendell, the council decides that the ring needs to be thrown into a volcano located in Mordor, the realm of Sauron. Frodo realizes that he is destined for this task. He is accompanied by nine companions to guide and protect him and together they set out from Rivendell.
Gandalf sacrifice himself while battling a monster, allowing the fellowship to flee, and Boromir tries to steal the ring from Frodo, which leads Frodo to run off in an attempt to continue the quest alone. He is soon joined by Sam, at this seemingly impossible journey to Mordor.
7. The Approach
”The hero approaches the central ordeal, and the flow of the story pauses. The hero (and the audience) are asked - “Are we really committed, do we really want to go on with the journey?” This is the planning and reconaissance stage where bonding/intimacy/humor may occur. The masks characters have been wearing will shift or change and the audience is able to appreciate other aspects ?deeper character attributes.”
Stage 6, 7 and 8 in ”The Lord of the Rings” is very much overlapping each other as the characters are continuously put to test and as a result shows off different masks.
As Frodo and Sam makes their way towards Mordor, they are attacked by Gollum. Overcoming the confrontation, Frodo takes pity on him, and makes the decision to spare his life. Gollum changes from being their enemy to become their guide, mentor and ally to Sam's objections. After entering wood elf territory, Frodo allowes Gollum to be captured in an act too prevent Gollum from being killed. But this leaves Gollum feeling betrayed. The wood elves let them go, but warns Frodo about Gollum's treacherous nature.
8. Death and Rebirth
”The hero (usually goes somewhere) and confronts death, and may appear to die. • Others of the hero’s team/band lament thinking that the hero is now lost to the. ”
Frodo gets stung by a giant spider, sedating him, and after unsuccesfully trying to wake him up, Sam believes Frodo is dead. Some orcs found the paralyzed body, knowing he was not dead, they took him back to their tower where Frodo wakes up. Sam rescues Frodo from the tower.
9. Reward/Payoff for having survived death
”The cause for celebration, a chance for ego inflation and to assume “immortality status”. The hero gains more power, there is the opportunity for intimacy/comedy - a reaction or contrast to stage 8.”
Sam rescues Frodo, an intimate moment. Dressed up in orc-armour, a comedic moment, they escape.
10. The Road Back
”Reassertion of why the journey was undertaken, which may come from whatever force was stirred up initially. The opportunity for a counter-punch. Typically this stage involves chase scenes.”
As they are getting closer to the volcano, Frodo became progressively weaker from the ring and they run out of water. When they finally reach the volcano, Gollum reappear and attacks.
11. Resurrection
”The “Going out from the Hunt and Returning Stage”. Typically the hero(s) are set apart and may then go through another death and rebirth ordeal which further reinforces their separateness. There is commonly an element of judgement at this stage.”
As Sam continous to fight Gollum, Frodo continous towards the volcano. But he finds himself unable to destroy the ring, but instead claiming it for himself. Gollum gets past Sam, attacks Frodo, gets the ring but falls down into the lava with it. The hobbits are then saved by some giant eagles just before the volcano errupts.
12. Return with the Elixir
”Will typically involve - a reward for the ordeal, distribution of gifts/prizes, returning something unselfishly to the group, a time for farewells and perhaps reacquaintance with the trajic hero who is doomed to repeat the adventure, if for instance they refused the initial call. It is also a chance for the audience and the hero to take stock, to say “we’ve been somewhere and we can compare our world to there”.”
Aragorn is crowned king. The hobbits return home to the Shire, where Sam marries Rosie. Frodo leaves Middle-Earth for the elven kingdom with Gandalf and Bilbo, leaving all his property with Sam who stays in the Shire.
1. The Ordinary World
”The hero is introduced, the audience is obliged to ask themselves the question - “Who do I identify with?”. The hero is commonly restless and not fitting into the background against which they are placed. ”
The protagonist Frodo lost both his parents at a young age and was adopted by his uncle Bilbo, an excentric outsider in the hobbit community of the Shire.
2. Call to Adventure
”Something big is about to happen, a herald appears to summon our Hero forth. The audience ask themselves - “Who/what is this?” “What will now change?”.”
During Bilbo’s birthday party, he hands over the ring to Frodo, in a suspiciously reluctant manner, which inspires Gandalf to search for the true nature behind the ring. Gandalf returns to the Shire to tell Frodo that it was infact the ring made by Sauron (the antagonist), who wants his ring back to become powerful again and conquer Middle-earth. Frodo decides to leave and take the ring to Rivendell, home of a mighty elf lord. Frodo leaves with some of his friends, most importantly Sam.
3. Refuse the Call to Adventure
”The audience is given a list of reasons why it’s not possible to follow the call, they signal to the audience that the quest is challenging and may bring fear and danger.”
The nine Riders, Sauron's undead and most powerful servants, are sent out in the quest to find the ring. Frodo escapes just in time and is nearly intercepted. But knowing that the Riders have reached the Shire, their hometown is no longer safe and there is no way back without finishing of the mission they have started.
4. Enter the Mentor
”This entity acts as a guide to help the hero through their ordeal.”
In the village of Bree, Frodo meets Aragorn. He saves the hobbits from an attack by the Riders, and becomes their guide and protector on the remaining journey towards Rivendell.
5. Crossing the Threshold
”The crossing may be voluntary or involuntary. Perhaps the mentor provides the impetus, or the villain pushes the hero into action with another dastardly act. The hero up until now may have resisted, but this is the final straw.”
While camping they are attacked by the Riders and Frodo uses the corruptous ring before being stabbed by an magic blade, that will turn him into a evil wraith if not healed. Once again, Aragorn helps them to.
6. Tests/Allies/Enemies
” In giving a brief glimpse of their colours the audiences is able to fleetingly see what the hero’s capabilities are. Now that we’re in the New World we see its different values, currency, locations, rules and characters. The audience (and the hero) have to determine who can be trusted/not trusted.”
In Rivendell, the council decides that the ring needs to be thrown into a volcano located in Mordor, the realm of Sauron. Frodo realizes that he is destined for this task. He is accompanied by nine companions to guide and protect him and together they set out from Rivendell.
Gandalf sacrifice himself while battling a monster, allowing the fellowship to flee, and Boromir tries to steal the ring from Frodo, which leads Frodo to run off in an attempt to continue the quest alone. He is soon joined by Sam, at this seemingly impossible journey to Mordor.
7. The Approach
”The hero approaches the central ordeal, and the flow of the story pauses. The hero (and the audience) are asked - “Are we really committed, do we really want to go on with the journey?” This is the planning and reconaissance stage where bonding/intimacy/humor may occur. The masks characters have been wearing will shift or change and the audience is able to appreciate other aspects ?deeper character attributes.”
Stage 6, 7 and 8 in ”The Lord of the Rings” is very much overlapping each other as the characters are continuously put to test and as a result shows off different masks.
As Frodo and Sam makes their way towards Mordor, they are attacked by Gollum. Overcoming the confrontation, Frodo takes pity on him, and makes the decision to spare his life. Gollum changes from being their enemy to become their guide, mentor and ally to Sam's objections. After entering wood elf territory, Frodo allowes Gollum to be captured in an act too prevent Gollum from being killed. But this leaves Gollum feeling betrayed. The wood elves let them go, but warns Frodo about Gollum's treacherous nature.
8. Death and Rebirth
”The hero (usually goes somewhere) and confronts death, and may appear to die. • Others of the hero’s team/band lament thinking that the hero is now lost to the. ”
Frodo gets stung by a giant spider, sedating him, and after unsuccesfully trying to wake him up, Sam believes Frodo is dead. Some orcs found the paralyzed body, knowing he was not dead, they took him back to their tower where Frodo wakes up. Sam rescues Frodo from the tower.
9. Reward/Payoff for having survived death
”The cause for celebration, a chance for ego inflation and to assume “immortality status”. The hero gains more power, there is the opportunity for intimacy/comedy - a reaction or contrast to stage 8.”
Sam rescues Frodo, an intimate moment. Dressed up in orc-armour, a comedic moment, they escape.
10. The Road Back
”Reassertion of why the journey was undertaken, which may come from whatever force was stirred up initially. The opportunity for a counter-punch. Typically this stage involves chase scenes.”
As they are getting closer to the volcano, Frodo became progressively weaker from the ring and they run out of water. When they finally reach the volcano, Gollum reappear and attacks.
11. Resurrection
”The “Going out from the Hunt and Returning Stage”. Typically the hero(s) are set apart and may then go through another death and rebirth ordeal which further reinforces their separateness. There is commonly an element of judgement at this stage.”
As Sam continous to fight Gollum, Frodo continous towards the volcano. But he finds himself unable to destroy the ring, but instead claiming it for himself. Gollum gets past Sam, attacks Frodo, gets the ring but falls down into the lava with it. The hobbits are then saved by some giant eagles just before the volcano errupts.
12. Return with the Elixir
”Will typically involve - a reward for the ordeal, distribution of gifts/prizes, returning something unselfishly to the group, a time for farewells and perhaps reacquaintance with the trajic hero who is doomed to repeat the adventure, if for instance they refused the initial call. It is also a chance for the audience and the hero to take stock, to say “we’ve been somewhere and we can compare our world to there”.”
Aragorn is crowned king. The hobbits return home to the Shire, where Sam marries Rosie. Frodo leaves Middle-Earth for the elven kingdom with Gandalf and Bilbo, leaving all his property with Sam who stays in the Shire.
Who is Kat Mew?
After leaving her home town of Bendigo, Kat Mew studied at Swinburn School of Design where she completed her undergraduate in Graphic Design. Continuing her studies Kat took part in the AIM postgraduate masters program here at RMIT.
Kat kick started her professional career in the era of the dotcom boom. Working on a variety of commercial web design projects Kat continued to refine her skills until the web bubble finally burst.
After a brief stint in the Advertising industry Kat secured a job with ACMI as an Interactive Designer. She has since worked her way up the ranks at ACMI and currently holds the title Head of Design.
Over her career as a artist and designer Kat has produced work in a variety of forms including short film, interactive web, music video and live video performance. Kat was part of a VJ group The Sex Pixels. The Sex Pixels were a Melbourne-based video performance crew knowned for their unique ephemeral style. They mixed their self-made animation and video footage with live video feeds to make engaging and dynamic performance artwork.
katmew.com
Kat kick started her professional career in the era of the dotcom boom. Working on a variety of commercial web design projects Kat continued to refine her skills until the web bubble finally burst.
After a brief stint in the Advertising industry Kat secured a job with ACMI as an Interactive Designer. She has since worked her way up the ranks at ACMI and currently holds the title Head of Design.
Over her career as a artist and designer Kat has produced work in a variety of forms including short film, interactive web, music video and live video performance. Kat was part of a VJ group The Sex Pixels. The Sex Pixels were a Melbourne-based video performance crew knowned for their unique ephemeral style. They mixed their self-made animation and video footage with live video feeds to make engaging and dynamic performance artwork.
katmew.com
Inspirational pictures
http://theroxor.com/2009/11/19/40-quality-space-wallpapers/
http://theroxor.com/2009/12/14/30-great-examples-of-data-visualisation/
http://theroxor.com/2010/01/12/30-breathtaking-long-exposure-photos-with-water/
http://theroxor.com/2010/02/01/15-quality-apple-wallpapers/
http://theroxor.com/2010/03/30/15-gorgeous-abstract-nature-wallpapers/
http://theroxor.com/2009/07/17/30-awesome-abstract-wallpapers/
http://theroxor.com/2009/11/30/15-awesome-and-inspiring-offices/
http://www.pxleyes.com/ext-tutorial/photoshop/6871/Creating-an-Awesome-Retro-Collage-.html
http://theroxor.com/2009/12/14/30-great-examples-of-data-visualisation/
http://theroxor.com/2010/01/12/30-breathtaking-long-exposure-photos-with-water/
http://theroxor.com/2010/02/01/15-quality-apple-wallpapers/
http://theroxor.com/2010/03/30/15-gorgeous-abstract-nature-wallpapers/
http://theroxor.com/2009/07/17/30-awesome-abstract-wallpapers/
http://theroxor.com/2009/11/30/15-awesome-and-inspiring-offices/
http://www.pxleyes.com/ext-tutorial/photoshop/6871/Creating-an-Awesome-Retro-Collage-.html
unity. tutorials. fashion. videos with style.
fashion
http://stores.ebay.com/JWY-FASHION
http://cgi.ebay.com/Vampire-Teeth-Stainless-Steel-316L-Ring-Goth-Punk-ve008_W0QQitemZ350329916011QQcmdZViewItemQQptZGemstone_Rings?hash=item51914a4a6b
http://cgi.ebay.com/Crown-316L-Stainless-Steel-Ring-Gothic-Punk-ve060_W0QQitemZ180482308273QQcmdZViewItemQQptZGemstone_Rings?hash=item2a059578b1
videos with style
http://forums.cgsociety.org/showthread.php?f=292&t=789957
http://darksorasan.deviantart.com/art/Sentry-147026482
http://unreconstructed.deviantart.com/art/OH-BRAVE-NEW-WORLD-63473617
http://kruddman.deviantart.com/art/Heroes-of-the-Cold-War-Trailer-79818175
character creator
http://gen8hedgehog.deviantart.com/art/Anime-Face-Maker-v1-0-75897890
http://foxrichards.deviantart.com/art/FaceMaker-52755515
unity
http://www.youtube.com/watch?v=dm5vEzzv1wY&NR=1
http://infiniteammo.ca/blog/impromptu-unity3d-intro-tutorial/
http://unity3d.com/support/resources/tutorials/
http://unitytutorials.com/tutoriallist.html
http://learnunity3d.com/category/tutorials
http://www.unifycommunity.com/wiki/index.php?title=Tutorials
http://stores.ebay.com/JWY-FASHION
http://cgi.ebay.com/Vampire-Teeth-Stainless-Steel-316L-Ring-Goth-Punk-ve008_W0QQitemZ350329916011QQcmdZViewItemQQptZGemstone_Rings?hash=item51914a4a6b
http://cgi.ebay.com/Crown-316L-Stainless-Steel-Ring-Gothic-Punk-ve060_W0QQitemZ180482308273QQcmdZViewItemQQptZGemstone_Rings?hash=item2a059578b1
videos with style
http://forums.cgsociety.org/showthread.php?f=292&t=789957
http://darksorasan.deviantart.com/art/Sentry-147026482
http://unreconstructed.deviantart.com/art/OH-BRAVE-NEW-WORLD-63473617
http://kruddman.deviantart.com/art/Heroes-of-the-Cold-War-Trailer-79818175
character creator
http://gen8hedgehog.deviantart.com/art/Anime-Face-Maker-v1-0-75897890
http://foxrichards.deviantart.com/art/FaceMaker-52755515
unity
http://www.youtube.com/watch?v=dm5vEzzv1wY&NR=1
http://infiniteammo.ca/blog/impromptu-unity3d-intro-tutorial/
http://unity3d.com/support/resources/tutorials/
http://unitytutorials.com/tutoriallist.html
http://learnunity3d.com/category/tutorials
http://www.unifycommunity.com/wiki/index.php?title=Tutorials
unity. treatment. logo. energy.
todo
. do a treatment of LOTR and Lion King
. create draft for room in unity
. write synopsis
. do a colorscript
text
http://fiftywordstories.com/category/mere-50-words/
http://aim.adc.rmit.edu.au/kcawley/Scr_chrctr.html
colorscript
https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaPb-xBGWJOLZNn67YTJXc0Axj1WQz3YM6bsbqH-ZOlHqNmGWPFcgXZW0cW5wN24ewskVp2FL7QWtV4MeNUK_aGu4l0VKjx4aKDmC95d-PUY73KGL275WcXjYLMFFkKYyLHF2ns9FEPwA/s1600-h/Colorscript-Assembly.png
http://www.youtube.com/watch?v=skb2gKR7rOk
for my blog
http://www.steelfrog.com/photoshop-tutorial-trendy-girly-web-20-header/
http://www.hongkiat.com/blog/50-great-photoshop-text-effect-tutorials-part-ii/
maya
http://cavalars.deviantart.com/art/3d-low-character-tutorial-55315601
http://www.creativecrash.com/maya/tutorials/character/c/real-time-character-modeling-tutorial
http://www.instantshift.com/2009/03/06/45-incredible-maya-tutorials-around/
---
doing masquerade pic
http://www.steelfrog.com/good-and-evil/
do Trouble Circus logo
http://www.vecteezy.com/
http://vector.tutsplus.com/tutorials/designing/creating-a-rockstar-brand-logo-styleguide-in-illustrator/
http://www.jimmyshelter.nl/blog-88-Resources-for-creating-a-great-band-logo.html
fiks vokal
http://audio.tutsplus.com/articles/general/5-great-vocal-effect-tips-audio-plus/
loops
http://www.bandmateloops.com/category/141/MiniPacks
---
blogs
http://www.kirstihonningsoy.blogspot.com/
http://upp-ner.blogspot.com/
---
tips
http://www.wikihow.com/Have-More-Energy
http://au.askmen.com/top_10/entertainment/top-10-things-bosses-love-to-hear.html
. do a treatment of LOTR and Lion King
. create draft for room in unity
. write synopsis
. do a colorscript
text
http://fiftywordstories.com/category/mere-50-words/
http://aim.adc.rmit.edu.au/kcawley/Scr_chrctr.html
colorscript
https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaPb-xBGWJOLZNn67YTJXc0Axj1WQz3YM6bsbqH-ZOlHqNmGWPFcgXZW0cW5wN24ewskVp2FL7QWtV4MeNUK_aGu4l0VKjx4aKDmC95d-PUY73KGL275WcXjYLMFFkKYyLHF2ns9FEPwA/s1600-h/Colorscript-Assembly.png
http://www.youtube.com/watch?v=skb2gKR7rOk
for my blog
http://www.steelfrog.com/photoshop-tutorial-trendy-girly-web-20-header/
http://www.hongkiat.com/blog/50-great-photoshop-text-effect-tutorials-part-ii/
maya
http://cavalars.deviantart.com/art/3d-low-character-tutorial-55315601
http://www.creativecrash.com/maya/tutorials/character/c/real-time-character-modeling-tutorial
http://www.instantshift.com/2009/03/06/45-incredible-maya-tutorials-around/
---
doing masquerade pic
http://www.steelfrog.com/good-and-evil/
do Trouble Circus logo
http://www.vecteezy.com/
http://vector.tutsplus.com/tutorials/designing/creating-a-rockstar-brand-logo-styleguide-in-illustrator/
http://www.jimmyshelter.nl/blog-88-Resources-for-creating-a-great-band-logo.html
fiks vokal
http://audio.tutsplus.com/articles/general/5-great-vocal-effect-tips-audio-plus/
loops
http://www.bandmateloops.com/category/141/MiniPacks
---
blogs
http://www.kirstihonningsoy.blogspot.com/
http://upp-ner.blogspot.com/
---
tips
http://www.wikihow.com/Have-More-Energy
http://au.askmen.com/top_10/entertainment/top-10-things-bosses-love-to-hear.html
need to know?
need blog themes?
http://blogger-templates.blogspot.com/
http://www.finalsense.com/services/blog_templates/index.htm
http://stitchestm.blogspot.com/2007/12/free-blogger-template-directory.html
need inspiration for your the design of your blog?
http://blog.noaesthetic.com/
http://dev.freevlog.org/
http://sfdailyphotos.blogspot.com/
need a new phone?
http://reviews.cnet.co.uk/mobiles/0,39030108,49303190,00.htm
need to touch up that profile picture?
http://apps.facebook.com/picnik/
need to know what I love?
http://welovetypography.com/5/tag/movie/
need to know one should animate in Flash?
http://chluaid.newgrounds.com/
New Life
First blog post from Australia! Here are some nice sites I've been discovering lately:
http://www.jonathankim.tv/
Awesome dude who does a lot of awesome stuff!
http://abduzeedo.com/awesome-digital-bokeh-effect-photoshop
Whooo.. Nice effect! Could be useful..
http://durian.blender.org/about/
Interesting project!
http://www.jonathankim.tv/
Awesome dude who does a lot of awesome stuff!
http://abduzeedo.com/awesome-digital-bokeh-effect-photoshop
Whooo.. Nice effect! Could be useful..
http://durian.blender.org/about/
Interesting project!
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