Animation and
its many changing faces...
It continues to stun me how the world of animation techniques continue
to grow. When I first sat down with the editorial calendar, now almost
nine months ago (where did that time go...), I thought the subjects
of stop-motion and motion-capture were a very odd pairing indeed. Sure,
they are both forms of 3-D animation but one revolves around high-tech
gear and computer programmers and the other around small models and sets.
However, this has turned out to be one of the most interesting issues for
me. I know I say this every month, but this time, while compiling the issue,
I found myself drawing an amazing number of correlations between the two
techniques and about the meaning of animation as a whole.
Our lunch with Chris Walker and Corky Quakenbush was an eye-opener. By
the time we left, we realized that they are both walking down a narrow
alley in-between the worlds of animation and live-action. Moreover, they
are probably slowly heading toward one another as new innovations arise.
Both shoot scenes almost like a live-action sitcom and move the camera,
a là live-action. Plus, both were drawn to their particular techniques
partially because of the tangible feeling that accompanies 3-D animation.
Their love of animation and live-action was also revealed as they frequently
spoke of live-action feature films. Unlike most of our guests, they have
both included quite a few live-action feature films on their Desert Island
lists.
What I found especially fascinating though was their definitions of animation.
No longer are we speaking about a standard definition of "frame by
frame manipulation." Rather, they agreed that live-action scenes that
both create "magical worlds" or "hyper-realism" can
be defined as animation as long as they "feel" animated. I think
as time goes on this is going to be a more and more interesting question.
(If I call you for an interview...be prepared.) The lines between live-action
and animation are blurring as we forge into the areas of photorealistic
3-D, amazing special effects and motion-capture. When we combine these
techniques with more traditional ones, an even wider array of choices appear.
For instance, I walked into Medialab expecting to find the performance
animators to be out-of-work Los Angeles actors. However, what I found were
highly-skilled puppeteers who were applying this "old" technique
to a new technology.
And then there is Gregory Peter Panos' article. When I first read his article
I thought, "Copying Bill Clinton, right. You can't do that. Someone
wouldn't allow that." Well, even before we went to print I was proven
wrong by MTV's special, "The State of Music Videos." I think
we are in for a wild and wooly ride when it comes to future applications
of motion-capture. Just as the President of France, Jacques Chirac, recently
called for a world-wide ban on cloning a human being, will we one day call
for a ban on digitally cloning a human being? What havoc could someone
with enough money, and motive, cause? Will we ever be able to trust our
eyes again? Of course, Hollywood's high-concept feature films are already
there with Wag the Dog. Everyone scoffs and says the plot is highly
unlikely, but then there's people out there that still believe what they
see in out-of-context video clips is the truth.
When I was an intern at Turner Feature Animation and doing script coverage,
they told me that one of my highest considerations was whether or not a
property was "animatable." Did it contain magic, mystery, the
supernatural; an element that truly merited being animated as opposed to
being filmed in live-action. I always went forth and looked for morphing
pink elephants, werewolves, etc., but now it seems that with special effects,
live-action people are asking themselves, `How can we add a little magic,
a truly unexpected surprise?' The answer seems to be coming back much more
often, `Animation!' in all of its hybrid forms.
I tell you, every month I sit here the magazine seems to get smaller because
the arena of animation grows and I want to include everything. Where will
it end? Nobody knows...and that's why it is so much fun to be sitting here,
right now.
Until next time,
Heather
Note: Readers may contact any Animation World Magazine contributor
by sending an email to editor@awn.com.
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