CREATIVE INDUSTRIES PRESENTATION

Module Number: CMN 4200_en 0918

Module Name: Creative Industries Presentation

Date Submitted: 18.11.2018

Award Name: Bachelor of Arts/Science (Hons.) Digital Film

Production

Course: CMN 4200_en 0918

Name: Maria José Pinto

City: Berlin

Country: Germany

Staffing: Tobias Schmidt

Word Count: 2899

I hereby declare that this paper and the work reported herein was composed by
and originated entirely from me. Information derived from the published and
unpublished work of others (this also includes internet sources) has been
acknowledged in the text and references are given in the list of sources.

Berlin, 18.11.2018
______________________ ______________________
Place, Date Signature student
 FROM THE ANIMATION TO THE

COMPUTER GENERATED IMAGE (CGI)

By Maria José Pinto

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 Table of contents

Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p. 3

Animation through history . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p. 4

How the animation gave way to the visual effects of today's movies . . . . . . . . . . . . . . . . p. 16

Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p. 19

Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . p. 20

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 Introduction

Real-image cinema records real images in continuous motion, automatically decomposing it

into a certain number of images per second. In animation cinema there is no real movement
to be recorded, but images are produced separately from reality, either automatically (with
the help of a computer, in the case of computer animation), or one by one ( as in the case of
traditional animation techniques, through drawings, models, objects and other multiple
techniques), so that, when the resulting film is projected consecutively, the illusion of
movement occurs. The difference between animation and the real image is therefore that the
real image cinema analyzes and decomposes a real movement, while the animation cinema
produces the visual sensation of a movement that in reality is non-existent in the real world.

Despite the advances in the film industry, one of the elements that persists (and will persist)
is that of animation.

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 Animation Through History

The human being has always had the illusion of capturing and representing movement. The
bison with six legs that the prehistoric ones painted in the caverns demonstrate this fact. For
centuries, various civilizations have sought procedures to represent reality.

Recently, in Iran, a bowl of about 5000 years old has been found that has recorded five
images that show the progression of a goat's jump.

Figure 1. Image of the bowl from Iran

The first shows of public projections of animated images were shadows. The shadows have
a great display of imagination and it does not take a great boldness to represent them.

In 1640 the German Athanasius Kircher, based on the operation of the Camera Obscura,
invented the Magic Lantern.

The magic lantern consisted of a camera obscura with a set of lenses in which images
engraved on glass plates were introduced, which through oil lamps were projected outwards.
Years later the Italian Cagliostro improved this device by adding a set of wheels that allowed
to zoom in or out the projected image. With the invention of photography, the images
recorded on the glass plates were replaced by slides and the Magic Lantern went on to
occupy the position of photographic projector.

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 Figure 2. Magic Lantern

During the 20s and 30s of the 19th century the knowledge of the phenomenon of the
persistence of the image in the retina became popular, this theme gave rise to many optical
toys. Some examples are:

Thaumatrope: ​In 1824 John Ayrton Paris invented the Thaumatrope, which consisted of a
circle with a different drawing on each side with a thread at each end, when turned around it
seemed that the two images became one.

Figure 3. Thaumatrope

Phenakistiscope: Only eight years later, in 1832, the Belgian Joseph-Antoine Ferdinand
Plateau developed another more sophisticated optical toy, Phenakistiscope. This consisted
of a smooth circular plate with several slightly different drawings separated by vertical holes
through which the viewer standing in front of a mirror could view them.

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 Figure 4. Phenakistiscope

Folioscope: In 1868 the first Folioscope appeared, of which the author is unknown. The
Folioscope was a booklet with several slightly different images that when passed quickly
describe an animated sequence. The Folioscope arose thanks to the birth of photography.

Figure 5. Folioscope

Zoopraxiscope: ​In 1878 the former governor of California (Leland Stanford) asked
Eadweard Muybridge for help to settle a bet on whether the hooves of the horses touched
the ground when they galloped. Muybridge placed 12 cameras with ropes in such a way that
when the horse touched the rope a photograph was taken. Then he developed a machine to
demonstrate his discovery, the Zoopraxiscope.

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 Figure 6. Zoopraxiscope

Kinetoscope: ​Thomas Edison inventor of the light bulb and the phonograph, decides to
make a machine to view moving images. With his assistant William Kennedy Laurie Dickson
(who did most of the work) they invented Kinetoscope, in 1888. This new machine had
nothing to do with what had been done previously. The Kinetoscope consisted of a box that
contained a strip of images (the strip of images was perforated by the sides so that it could
be moved by some gears) were illuminated by an incandescent lamp and seen by a
peephole.

Figure 7. Kinetoscope

Cinematograph: ​The Lumière family was the largest manufacturer of photographic plates in
Europe. With his knowledge in photography Louis and Auguste Lumiere designed a machine
capable of projecting images and engraving them, they called it Cinematography. The
Cinematographer uses a 35mm flexible tape cut into wide strips and uses the same
intermittent system of the sewing machine. This new invention took the film at sixteen frames
per second (the Edison Kinetoscope 46 frames per second) and became the standard rate

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for 25 years. The Lumière brothers made the first presentation of their films on December 28
1895, date that most historians consider as the birth of cinema.

Figure 8. Cinematograph

Of course, as these inventions there are hundreds, but what concerns us today, is the way in
which the animation evolved and changed the world of cinema.

Among the first animated films that were presented in a cinema was the "Humorous Phases
of Funny Faces" by J. Stuart Blackton, which used photographs to create an animation.

Figure 9. “Humorous Phases of Funny Faces” by J. Stuart Blackton

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And in 1908 the French artist, Émile Cohl, created "Fantasmagorie", the first animated film
with hand-made drawings.

Figure 10. “Fantasmagorie” by émile Cohl

“Gertie, the dinosaur” was an animated short film of 1914 directed by Winsor McCay that
inspired several generations of animators. Although it was not the first animated cartoon, as
some people think, it was the first to present a character with its own personality and to
combine animated beings with cartoons. The main character differs from those previously
created by Cohl, and makes it the predecessor of those created later by Walt Disney.

Figure 11. ​“Gertie, the dinosaur” by Winsor McCay

From here, multiple animations were created, many of them were projected before a movie.
With the appearance of the famous “Felix the Cat” in 1919.

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 Figure 12. “Felix the Cat”

But it was not until 1930, that animation would reach its peak, with the introduction of
animations of studios such as Warner Bros, MGM and of course, Walt Disney, who in 1938,
would launch his debut with Snow White and the Seven Dwarfs, first animated full-length film
in color.

But the world of animation was not limited only to drawings, for its part, the world of cinema
would begin to implement the magic of animation, frame by frame, which was popularized by
the genius Willis H. O'Brien.

Figure 13. Willis H. O’Brien creating “King Kong”

Among the most outstanding works of Mr. O'Brien, are the special effects of films like: The
Lost World (1925), King Kong (1933), Mighty Joe Young (1949), among others.

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O'Brien's school gave us one of the greatest and most talented entertainers in history. Ray
Harryhausen, who after seeing the work done in King Kong, was amazed by what animation
by frame, could create. That's how Ray started experimenting with this new art.

This would take him to meet O'Brien, who motivated him to improve his work. This would
give the beginning of a long friendship, which was responsible for the best special effects of
cinema.

After a long time, Disney would find success with the third animated short of his most famous
creation, Mickey Mouse.

With the premiere of Steamboat Willie in 1927, Walt Disney inaugurated the golden age of
animated films, with Mickey Mouse as the main protagonist and thus becoming the banner of
the multinational to this day. The genius of animation established a technique that would be
emulated by many producers of his time. The method, known as sound cartoon, allowed to
synchronize the drawings with sounds, as shown perfectly in the scene of the smoke that
came out of the boat that drove a primal Mickey Mouse.

Figure 14. Mickey Mouse in “Steamboat Willie”

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The creation of the multiplane camera in 1933 patented by Ubi Iwerks made it possible to
give traditional animation, at least in its moment, three-dimensional effects that made the
scenes of the films more realistic, obtaining for the first time in history a depth of field in the
animation. The multiple camera was one of the biggest innovations in the history of animated
film, with which it was possible to place quality standards at levels that had not yet been
reached. It consists of a series of plates located in various plans that can be moved freely in
vertical and horizontal so that a camera can capture them from the top of the structure, thus
achieving a three-dimensional effect.

Ub Iwerks is considered one of the founding fathers of Walt Disney Studios, specifically for
creating a distinctive style of the production's drawings and designing Mickey Mouse as we
know it today. The animations that he was able to create with his multiplane camera were
groundbreaking, but later, the improved versions of this idea by Disney, led the production
company to become a leader in the animation sector and consequently that he was not
recognized as expected.

Figure 15. The Multiplane camera

Disney continued with his work and in 1938, he would release his first feature film on the big
screen, the ambitious Snow White and the Seven Dwarfs. Film that made him spend all his
income, but which makes him a lot more.

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 Figure 16. Snow White and the Seven Dwarfs

This turned Disney and its characters, the inspiration of many, who hoped someday to
perform a similar job as Mr. Disney.

Among these people, were Osamu Tezuka, father of Manga and one of the most important
figures in the world of comics and yes, animation too.

Figure 17. Osamu Tezuka

For decades, the animation did not really have a concrete evolution, since all the studios
used similar techniques for the creation and integration of elements created by hand with
normal films.

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The increase in the use of televisions, gave the animators a tool that allowed them to share
their work. Of course, the budgets to create animated series, were much smaller than to
make movies, so there were cuts in the number of frames, saving movement and material.
One of the creative houses that grew in the 60's era, was the Hanna Barbera, who had the
largest number of series on television.

But this time, I would also see the birth of animations for adults. In 1972, he premiered Fritz
The Cat, the first animated feature that reached an R rating.

Figure 18. Poster “Fritz the cat”

And in 1984 the world saw the birth of the first animated short film entirely made by
computer, The Adventures of Andre & Wally B, by Pixar.

Figure 19. The Adventures of Andre & Wally B, by Pixar.

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The future of animation was very close, until 1993, when Steven Spielberg created the film
that integrated all existing techniques, creating one of the most influential films of the last 20
years:

Jurassic Park, was a resounding success. Using a mix of frame-by-frame animation,

animatronics and computer-generated graphics, Steven Spielberg created a world that has
not been surpassed to this day.

Figure 20. Jurassic Park by Steven Spielberg

And in 1996, Pixar would create the first fully computer-made feature film, the award-winning
"Toy Story." This movie marked the use of the CGI, to create films, replacing little by little the
animations made by hand.

Figure 21. Toy Story, by Pixar

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 How the animation gave way to the visual effects of
today's movies

A great achievement of the last two decades is that computers allow us to achieve an
unquestionable realism of imaginary scenes. Almost all movies made today involve
hundreds of visual effects that are naturally combined with real action. Technology along
with animation has given way to the computer generated image known as CGI. It is a term
that refers to the use of graphics and 3D computer technology in movies to create images,
characters, special effects and the illusion of movement.

After the creation of the Tron movie in 1982, computer animation technology made advances
to create water, fire, morphing and motion capture effects for CGI characters. But it was not
until Terminator 2 that a big-budget movie used multiple effects of morphing and simulated
human movement for a computer-created character.

Figure 22. Tron Figure 23. Terminator 2

With the premiere of the movie Jurassic Park, already commented previously, it was possible
to show the infinite amount of objects and effects that could be done with computer
animation, if not at that moment later. For the creation of the dinosaurs in this film the CGI
filmmakers created muscles and textured skin for the first photorealistic characters. The
computerized elements were integrated into the scene with the real elements in a very

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convincing way. This marked a Hollywood transition from motion-by-frame animation called
Stop-Motion and conventional optical effects to new digital techniques.

Figure 24. Steven Spierlberg in the set of Jurassik Park

A year after Jurassic Park the film Forest Gump used this digital technology in a new way.
The most famous effect was the use of the CGI to remove the legs of the actor Gary Sinise
since his character was amputated. The actor Tom Hanks was inserted in several historical
films, so that it seems to be talking with the individuals of these films the CGI was used to
alter the movement of the lips of the historical figures. In different scenes the crowds of
people were replicated from a small group of extras, in this way filling stadiums or a large
demonstration.

Figure 25.Forest Gump Figure 26. Forest Gump Manifestation scene

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When you do not want to or can not spend money to create a whole scenario, you can build
a part in a studio, shoot the scene and then extend the scenario using CGI in wider shots.
The new digital technologies have managed to extend the field of visual effects to a new
group of individuals, Lev Manovich expresses it this way:

Until recently Hollywood studios were the only ones who had the money to
pay for digital tools and the work involved in producing digital effects. However, the
change to digital media affects not only Hollywood, but the making of films in general.
(Manovich, 19, p.300)

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CONCLUSION

A great animated story exploits the limitless possibilities of the medium. Story requires a
strong plot, human themes, interesting conflict, relatable ​characters​, and a sense of a new
journey. But a compelling animated story is also playful, taking full advantage of the elasticity
of the visual form. Animation can be magical, once you know what it is you are trying to say,
you can utilize the many visual ways it can be expressed. You can create worlds, defy
gravity, flip from factual to fantasy, and transport audiences to places they never imagined.

Nowadays, dozens of filmmakers who have printed their personal style to their works are
famous for their animation work, and now they use animation techniques that were
previously unimaginable, but which are now possible thanks to technology such as stop
motion or 3D animation and, of course, creativity.

Throughout this analysis you can see how the creation and evolution of animation has given
way to visual effects nowadays used in most films. Both are linked to technology, throughout
the history of cinema have undergone great changes thanks to the development of new
inventions.

The relationship between animation and special effects is observed from the first films of
history, wanting to create an image that is not found in reality. From the first film we needed
to show a trip to the moon, something that at that moment seemed impossible and that with
the use of animation it was possible to achieve.

The history of cinema is still in great advance and together with technology you can create
great films. Thanks to the simple fact of wanting to create movement through images, we
have been able to evolve creating characters and scenarios from our imagination.

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