3D Animation - Master of Arts in Design

Transcription

3D Animation
The Use of Analog Techniques in a Digital Era
Daniel Tamayo
Master Thesis
Hochschule Luzern - Design & Kunst
Master of Arts in Design | Illustration
Colloquium Advisers:
Jan Eckert
Andrew Polaine
Mentor:
Aileen Posada
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Affidavit:
I hereby confirm that this degree thesis is all my own work. Any
material adopted from outside sources directly or indirectly is
indicated as such.
This thesis has not been submitted to any another examination
authority in this or any similar form nor has it been published.
Date: The 3rd of February 2015
Signature:
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3D Animation: The Use of Analog Techinques in a Digital Era | Danien Tamayo • Master Thesis | Hochschule Luzern - Design & Kunst | Master of Arts in Design | Illustration
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Abstract
Abstract:
Throughout the history of art there have been various executions and
speeches according to the function of the technique, each supported
and dependent on the resources that each time offers. This now
gives us the freedom to express an idea backed by multiple possible
techniques that fit to the creator›s intention.
The contemporary era brings with it a debate that is present in
different types of expression, is the dilemma between the analog
and the digital, which consists on the two methods that are today
responsible for the development of creative processes. The arrival
of digital media and technological developments have generated a
significant discord in literature, photography, films, illustration,
among others...
This thesis will expose basic concepts, definitions and references of
3D animation, both in its analog as digital technique, to resolve what
advantages has one over the other, how they can complement each
other, and most importantly: What is the reason that encourages
to preserve manual work in the midst of this digital age? From my
knowledge of analog animation, and with the help of documentation
and current and historical references, I will carry out a study that
exposes the development process of both techniques, their advantages
and disadvantages, their main functions, resources, to determine
a conclusion that manages to help the understanding and practice
of the potential animators, who like me, consider and make use of
development supported by the analog technique.
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Index: Table of Contents
Affidavit
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Abstract
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1
Introduction
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2
Animation as a Creative Process
2.1 Stages of the Creative Process
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Timeline: A look at the Past (Graphic Map)
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Analog 3D Animation
4.1 Categories / Techniques
4.2 Analysis and Gallery Maps
4.2.1 Nightmare Before Christmas
4.2.2 Grizzlybear - Ready, Able
4.2.3 James and the Giant Peach
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Digital 3D Animation
5.1 Types of Digital 3D Animation
5.2.1 Toy Story
5.2.2 Avatar
5.2.3 The Lego Movie
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Comparative Chart
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Fusion between the manual and the digital.
7.1 Argument
7.2.1 Jurassik Park
7.2.2 The Bear and the Hare
7.2.3 The Boxtrolls
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Conclusion: The Theory of Reinvented Indentity
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Bibliography and resources
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8.
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Introduction
Introduction:
Figure 1: Walking. Frame to frame.
As an analog 3D Illustrator/animator and a fan of this technique, It
has always called my attention to understand work in an era in which
in a short time there has been many changes against this technique,
without underestimating the gains made by technology, instead, trying
with this thesis to somehow complement these two techniques and
expand the meaning of my work.
I have an affinity and affection for the manual work, I believe that it is
a technique with a distinctive attribute that reveals the passion and
dedication to this work, in addition to the many advantages that I›ve
found in various experiments with materials. However, I don’t think it is
logical to ignore that we live in a practical time, in which the technology
has been responsible for saving processes and has been given many
opportunities that previously could not be considered by the limitations
which offer other times regarding this actual time.
I start this thesis by trying to introduce the reader to the world of
animation. I think the intention of animation comes from prehistoric
times, as a need to narrate pictorially the bison movements, that
is the reason why some of these animals are pictured in the rock
art with 8 legs instead of 4. I can say that the history of animation
begins, which has been perfected and in turn supported by the
technological discoveries in each time, among these discoveries, it is
important to note that the evolution of photography plays a key role,
from the darkroom to the digital camera, animation has mutated using
interventions that favored to improve photography and cinematography.
But until here we have only spoken about 2D animation, and to
be clear about the difference from 3D animation, it is important
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to notice that 2D animation focuses on giving life to the depicted
drawing (which has two dimensions), while 3D animation arises with
the intention of giving life to inanimate real objects (which have the
volume as the third optical dimention), both with the same objective,
to tell a story.
With the previous definition we can say that the puppets and
marionettes are the precursors in the evolutionary line of 3D
animation because they present a completely manual development
of characters from actual materials, and its function was to tell and
recreate stories.
Subsequently, stop motion animation (Analog) is used to generate
simulations and effects in films, as a tool for the simulation of
the voluntary movement of objects (The Electric Hotel 1907), the
development of small scale models that simulate places, this resource
has persisted and has been perfected till the present (the Lord of the
Rings), also as a tool for the manufacture of fantastic beings (King
Kong 1933). It should be noted that previously the 3D was seen
more as a tool in the films of science fiction than as an ultimate goal.
Until the Decade of the 50s began to perform experiments that allow
analog 3D, also known as stop motion animation to finally empower
3D digital animation.
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2. Animation as a Creative Process
Lets start defining animation as a simulation of movement produced
by images which are created one by one; by successively projecting
these images (called frames) an illusion of movement occurs, but the
represented move did not really exist .
As with any creative process, the creation of an animation is done
in a certain order, a series of steps that segmented the work, or
give shape to the project since the idea up to the projection of the
animation. Each stage has an important rol in the creative process.
These stages are named as:
-Pre-production
-Production
-Post-production
-Distribution
2.1 Stages of the creative process
Pre - production:
Most of the experts said that this is one of the most important
stages, not only because it defines all the other ones, but because it
is the step that creates the whole motivation of the animated process.
The preproduction is the concept stage which formalizes an idea
with technical specifications, it is the answer to what and how to do
something. This stage includes the description of the idea, Script,
Story Board, the blueprints, design and development of characters,
voice recordings and voice edition (Animatic/ceica).
Figure 2: Blueprint. The Nightmare Before Christmas
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Production:
I can define this stage as the materialization of the preproduction
stage, it is the stage that gives shape to the animation process, at
this point the process is not only a sketch but the material result
of the concept; it includes the gestures of the characters, layout,
development of scenarios, the Keyframes and the Inbetween, testing,
cleaning, pigmentation and execution.
Figure 3: Stage and Characters. Vincent - Tim Burton
Post - Production:
This stage is responsible for perfecting the production by editing,
dubbing, mixing and music. Based especially on reviewing mistakes
,improving production and also adding special effects that can not be
done in real life. I believe the importance of this step depends on the
style of the animation, and also it is focused on finding a way to debug
and refine the product once it is done.
Figure 4: After Effects - Edition
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Distribution:
This is another important stage to have in mind, its importance
is focused on how the production will reach viewers. In this stage it
is important to talk about a merchandising concept: The target. The
target audience is the segment of society for which the product, in
this case the animation, is intended.This segments are categorized by
age, gender, lifestyle, needs, motivations and consumer habits.
Figure 5: Focus Group
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3. Time Line: A Look at the Past
Graphic 1: Time Line: A Look at the Past
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Timeline: A Look at the past
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4. Analog 3D Animation
Figure 6: Stop Motion Process
First of all, to move forward with the objective of this thesis, it
is important to define shortly what Analog 3D animation is and its
techniques.
Analog 3D animation also called Stop Motion animation consist in
pretenting the motion of static objects through a series of successive
still images called frames, which are not drawings, but they are created
by taking real images. Stop Motion animation is used to produce
movements in any object by manipulating it, either rigid or pliable, such
as toys, building blocks, cromy or characters created with clay. It is
commonly called artisan animation, because the movement is given
by the construction of articulated objects frame by frame. This work is
made by different materials (clay, sand, paper cuts, chalks on floors,
walls, etc.) progressively, without the possibility of going back.
It is important to say that analog animation is not only the begining of
the 3D animation, it is also intended to preserve natural aspects of
real life which is not very easy to show using a computer, this is why
many animators still use it.
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Analog 3D Animation
4.1 Categories /Techniques
Graphic 2: 3D Analog Animation Techniques
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Puppet Animation:
As I already said in the introduction, we can say
this is the beginning of the 3d animation. This technique
is also used in the present, but it consists of puppets
that generally have an articulated structure inside of
them that is used to keep them steady as well as to
move them. Tim Burton’s work is the perfect example
to bring when we are talking about Puppet Animation.
Figure 7: Tim Burton’s Corpse Bride (2005)
Claymation:
Clay animation or Plasticine animation, is very
similar to puppet animation, the difference is that this
one uses figures made of clay or malleable materials.
Also with an inside structure that allows them to both
move and be steady
Figure 8: Gumby - Stop Motion Process
Cutout Animation or Silhouette Animation:
Stop Motion made with papercuts. It can be
produced by moving two-dimensional pieces of paper
or cloth, or characters are backlit only visible as
silhouettes.
Figure 9: Silhouette animation - Cut out Animation
Pixelation:
Stop Motion in which the animated objects are
people and authentic common objects not puppets, toys
or models.
Figure 10: Her Morning Elegance/ Oren Lavie Video
Multiplane:
It is a technique that divides the animation in glass
giving the sensation of graphic depth on scenes, and that
is how it obtains the simulation of 3D.
Figure 11: Multi Plane Table.
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Analog 3D Animation
Model Animation:
Stop-motion animation created to interact with
the live-action world. Intercutting, stop motion with real
motion, mixing scenes such as scenarios, stop motion
characters with real actors. A great example of this
technique was the first King Kong movie.
There is a subcategory of Model animation called
Go Motion, which uses various techniques to create
motion blur, with actual movement between frames of
film.
Object Animation:
These are the regular inanimate objects in stopmotion animation. This technique has two categories.
One is the Graphic Animation, which uses photographs,
newspaper clippings, magazines, etc. which are
sometimes manipulated frame-by-frame to give the
impression of movement. There is also the Brickfilm
which uses brick toys to make an animation.
Figure 12: Model Animation - Go motion. E.T
Figure 13: Lego Shortcut - Brickfilm
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4.2.Analisys and Gallery Maps
4.2.1.Nightmare Before Christmas
Directed by: Henry Selick
Produced By: Tim Burton
Categorie: Movie
Genre: Fantasy - Horror - Musical
Stop-motion/Puppet Animation
1993
«In Hollywood, they think drawn animation doesn›t work anymore, computers are the way.
They forget that the reason computers are the way is that Pixar makes good movies. So
everybody tries to copy Pixar. They›re relying too much on the technology and not enough on
the artists».-
Tim Burton.
Nightmare Before Christmas becomes a referenced determinant
when it comes to naming a handcrafted and meticulously detailed
graphic language, aesthetic values that are as innate to the stopmotion as an analog technique.
His characters, scenarios and material culture shows how the
value of manufacturing and traditional technique can also contribute
to modern aesthetics, just as well as the predominantly digital
modern techniques. A pre analog production, where each texture,
form and material is analyzed so that they have connection with the
body in movement, dress and space, brings as a consequence no
standardization in techniques and processes of production.
Thanks to this project Tim Buton is now recognized to employ this
type of technique to perform his rare and extraordinary stories.
Before the development of this film, there were series› and
shortcuts, but not a feature film as well made with these resources.
I chose this project as an example, since it plays a very important
role in the history of animation.These models, characters and small
details are the result of the first feature film made in this analog
technique that captivated thousands of people especially fans of film,
art and toys, future animators and modelers of characters who, like
me, wants to work in a production like this.
I believe that in this case, the analog technique was used for many
reasons, such as the remarkable goal of making a whole movie
in stop motion/ puppet animation. Also the use of this technique
seems appropriate with regard to the graphic style , allowing the
macabre-fantasy world come to life in its own nature as if it was
real. There’s a magical touch on little details and expressions that
make this world seem absolutely real. We can see these details in
textures, materials used, and specially lighting, which plays a role in
each stage, trying to give a more or less dramatic setting according
to the situation that the producer wanted to represent.
In this project, you can see a flawless and very complete result of
this analog technique despite the time. It is remarkable because
at this time, this team was without the resources or facilities we
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Analog 3D Animation
have now for many effects, and they still succeeded in this work of
art. Assuming that this film would have been able to develop with
digital technology at that time, I believe it would not have had a result
as successful as it did using analog development, because of the
detail value and the realistic enviroment, even if we are talking about
fantasy, I think their characters would have rigid movements and its
scenarios would lose this manual touch, also it’s kind of amazing to
think of the huge manual process that is behind this movie as it was
made.
Pre - production
I think is important to say that there is a strength in
preproduction, it played an important role from the innovative
approach of the concept and the dark and macabre style that
represents Halloween. At this stage, Tim Burton creates the story,
the characters and all the visual and conceptual art of the story.
Later together with director Henrry Selick, they got the animators
and the rest of the necessary equipment; a composer named Danny
Elfman for music, since it is a film with musical sequences. Also a
Department that made the storyboard which is useful to plan and
visualize every scene and coordinate them with music and voices
and give structure throughout the story. Thanks to the storyboard,
they arranged the time to know how long it would take each scene
to develop, decide the palette of colors, the required stages to fixate
the lighting and objects.
Characters
The characters, after being designed and drawn by the art
Department, are made into figures sculpted out of oil-based clay to
shape the first three-dimensional character since it is easier with
this clay to Texturize them and give them a more polished finish. next
in development are the skeletons which are constructed with metal
parts that simulate the body›s movements to hold the figure. Later,
metal skeletons are placed into molds with latex foam to create the
final shape of the character (give the skin). They are baked, are taken
out of the mould, to finalize the character they colour and put them
clothes, dressing them and adding different details such as hair,
fabrics, metals etc. And finally making them up and giving them the
final touches. They were about 200 figures and 15 animators. They
also built hundreds of heads with different expressions and faces that
change depending on the facial movements in each emotion or spoken
lyric. There were more than 400 different heads that were used to
complete Jack›s emotional spectrum. The characters are graphically
very interesting. they have a horror and terrifying disposition without
being at all macabre to there public, which are children.
There is something particularly interesting about some of the
characters, in which the material with which they are made is linked
to their personallities and skills. Such as Sally or Oggie Boggie both of
which are built with a kind of fabric sewn with threads and have the
ability to tear and stitch at there own convenience.
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Scenarios
By being made in miniature scenes with characters and other
handmade objects, texture is a big contribution to the aesthetic
appeal in this film. Textures are much more real and related to
material giving more natural feeling than any digital technique would
obtain.
This story unravels in three different realities. One is the world of
Halloween, which is a dark world of shadows, Halloween characters,
dark shades and colors from a palette of black, white and orange
tones were used. The landscapes mostly consist of cemeteries,
crypts, old houses and castles all in stone, gray and a pointy and
aggressive style. Another scenario is the Christmas town, where the
characters are colorful, rounded and happy. This enviroment is full
of vivid and bright colors alluding to Christmas. It also has a snow
layer of a material that gives the feeling of fluffy, soft and shiny. Finally
there is a human or real scenario, where the houses, people, objects
and colors simulate reality.
Production:
The production process begins once all the figures and scenes
are ready to be animated and is sequenced according to the order of
the storyboard. Being that this is a stop-motion film, it is developed
scene by scene, taking photographs of each frame to give life to
the story. This process must direct the lighting in the right place
and position for the camera to take photographs in the required
sequence frames.
he real world scene has small windows and doors that allows
animators come, give movement to the figures and take pictures in
the required places more easily. While one animator is working on
a scene, there are more animators working in other scenes at the
same time.
Post -production:
At this stage the team put pictures together in a software to
create the final animation. Certain digital special effects such as
ghosts coming out were also added to the beginning, also snow,
smoke, shadows, fire and electricity. This is the stage that completes
entire development process.
Distribution-Target audience
The Nightmare Before Christmas was created by Tim Burton
while he was working for Disney, but was not accepted at first.
Later It was held by Touchstone Pictures, a subsidiary focused
on adult audiences. Film Rating was (PG) (PG - Parental Guidance
Suggested. Some material may not be suitable for children under
10 years. Generally recommended that children under 10 must be
accompanied by an adult).
According to the above, I think that the film is for a public older than
10 years old who can enjoy this lively technique and these incredible
characters and scenarios that are narrated through this story. There
are dark and a little macabre scenes for minors which makes this
film material suitable for young people and teenagers older than 10.
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Analog 3D Animation
Graphic 3: Nightmare before Christmas map
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4.2.2. Grizzlybear - Ready, Able
Directed by: Allison Schulnik.
Categorie: Music Video
Genre: Indie Rock - Fantasy
Stop-motion/Claymation Animation
2009
«I mix clay colors. At times, the characters are really filled with all sorts of colors, so there
can be pleasant surprises, or “happy accidents” as Bob Ross would say.».-
Allison Schulnik.
This short film is a music video that was developed for the for the
band Grizzly Bear. , I chose it because it seems perfect to give the
example of claymation and how the characters are transformed in
shape and color as the animation proceeds.
It is a very interesting claymation technique where you can see how
the shapes are transformed frame by frame. This piece of art is
the resource and graphic reference in which you can appreciate
a laborious manual work that gets a result with a significant and
distinctive identity. The continuous movement, detailed plans and
stylistic transformations not only from the formal (the plastic and
artistic) but also the creative process give way to say that the
technique used in this case: claymation, is the main factor and the
distinctive value of the video.
You can visually see that one of the accomplished intentions of this
short is to generate a sea of sensations in their spectators, these
feelings become real thanks to the sensitivity of our body in front of
the sensory stimuli generated by this aesthetic solution which falls
short: body transformation, mutation of the color, and corresponding
to the claymation diluted effects. This technique gives the characters
expression and personality, i.e. precedes the words. I choose this
project, because it is an important and relevant example to remind
and emphasize the importance of the analog that shows us how
we can use the help of artists and their works to express deepest
feelings and recreate them in 3D worlds that represent another kind
of comunication.
This video was made by the artist Allison Schulnik, it was made
in this technique to represent nostalgia, revulsion and sorrow with
a natural and expresive style. If this idea had been made in digital
technique,its aesthetic and essence would have been lost. With all
this information we can conclude that analog technique is better to
support artistic intentions.
Pre Production
The concept and art was performed according to the song.
Later the model was built with different materials to give the detail
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Analog 3D Animation
required, elements such as trees with real wood, branches, leaves
and shrubs, a material that simulates the water and over some
sort of transparent paper that later was used in production to
create an illusion of movement. In some scenes there are more
simple scenarios such as black backgrounds, or with some color. A
transparent box was created too that shines with colored lights with
some kind of acrylic or glass. They built the pedestals where are the
heads that move and the other items. The main character is also
molded in plasticine.
Characters:
The character is kind of a Yeti who lives in the forest, it is molded
in clay with changing colors and outside covered with a layer of white
clay mixed with other colors in subtle pastels. The most interesting
thing about this character is that during the motion animation he is
involved and deformed getting a hint of movement in his «skin» giving
a very interesting result visually, constantly moving on each frame.
The other characters like the little green men who eat the monster
that melts in the «water» or faces that move in columns transforming
from one side to another are made during the production process,
as the clay was deformed on each frame, to accomplish that one
face turn into another.
Production:
Stop-motion animation frame by frame animation claymation
figure deforming or transforming each frame, motion, lighting.
I think this is the most important and interestin stage, since during
animation claymation characters are transformed and deformed,
changing colors becoming a more experimental and unusual art.
Post - production:
In the post-production stage they made the whole line of frames,
collecting all the photos in any video editing software adding some
lighting and some details. Also they edited the music video ending it
to be published.
Distribution -Target audience
In this video the target audience in my opinion is divided into
two segments, one is the people who likes this band or this kind
of music and art and experimental videos, the other serious people
who like stop motion technique and enjoy its detail and appreciate
the patience and the technical work. In my opinion it is serious visual
category (G) Suitable for all audiences.
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Graphic 4: Grizzlybear - Ready, Able map
Analog 3D Animation
4.2.3James and the Giant Peach
Directed by: Henry Selick
Produced By: Tim Burton
Categorie: Movie
Genre: Fantasy
Live Action/Puppet Animation
1996
«You know, I love stop-motion. I›ve done almost all the styles of animation: I was a 2D
animator. I›ve done cutout animation. I did a CG short a few years ago, ‹Moongirl,› for young
kids. Stop-motion is what I keep coming back to, because it has a primal nature. It can never
be perfect.».-
Henry Selick
I choose this film, because it is the first feature film that manages
to mix the technique of stop motion animation and live action in an
appropriate way, in which a child as a real actor becomes a fictional
character as a Stop Motion character. This means that the intention
to mix these two techniques is related with the two enviroments (the
real and the fictional) of the movie, wich is an intelligent and recursive
way that not only offers to the viewer two points of view, but also two
techniques that are linked with concepts that allow to differentiate
visually two worlds. This combination of techniques allows to create
a collage of scenes and characters, generating values added to its
production and the final result.
This film was made by Henry Selick in 1996 and is based on a book
written by Roald Dahl. It contains different atmospheres that can be
divided into several realities, the real world, the world in peach (3d
stopmotion) and the world of Jame’s dreams (illustration collage).
Each style is handled according to each situation .
Assuming that the film›s had developed with the help of digital media
(digital 3D). It would maintain the appeal of both worlds without any
problem and also the intention. What makes this film and its manual
work big is the process and dedication. Also it would have lost some
of the essence of those characters that may seem more real, like
toys.
Pre - production
This stage includes the whole idea and the way to create two
worlds, characters and the script based on the book and that would
summarize the book in 2 hours of projection. As we saw in the other
examples, this stage also covers the design and development of
characters and scenarios.
Characters
The characters in this film are divided in two different groups,
the real players and miniature figures. The figures are made by
emptying molds (latex foam) on a skeleton constructed for each
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character depending on his physiognomy. These skeletons are made
with small parts that rotate to give a more fluid movement to the
characters. Once the mold is finished, polished and the shape is
completed, it is painted in detail, and the addition of other materials
such as fabrics for garments and wool for the hair or small details
that each character has such as sunglasses or hats.
Scenarios
As I have already written, there are two enviroments and
principal scenarios on this movie, the real life and the life inside
the peach. They are divided according to two forms of project and
communicate events. The Live action and the stop motion.
Production
This stage is divided in two parts, one part is where the
animation is developed in stop-motion. Pictures are taken frame
by frame to give motion to the characters on stage. This step is
performed similarly in the film «The Nightmare before Christmas»
that we saw in the previous example. On the other hand, recording
takes place in live action, with actors in real locations that should
have a language that can merge properly with the animated part. It
must be a very organized and precise work to achieve harmony with
such a mix.
Post - production
Special Visual effects and audio, editing, music and completion.
In the postproduction, the team took the animated material and video
recording and joined them in a video editing program to make the
final cuts and organized the timeline of the movie. Once they had
everything and saw the final story, they added special effects and
voices.
Like the original book, this movie is directed to the child
demographic. It was produced by Walt Disney and its rating (PG)
and children under 10 years must be accompanied by a responsible
adult.
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Analog 3D Animation
Graphic 5: James and the Giant Peach map
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5. Digital 3D Animation
In computing, the three dimensions are the length, the width and the
graphic depth of an image. Technically speaking the unique 3D world is
real one, the computer only simulates 3D graphics, because ultimately
all computer images only have two dimensions, height and width.
The process of creation of three-dimensional graphics begins with a
group of mathematical formulas and becomes a graphic in 3D. Those
mathematical formulas (With the use of external objects) describe
polygonal objects, tones, textures, shadows, reflections, transparency,
translucency, refraxiones, lighting (direct, indirect and global), depth of
field, blurs by movement, atmosphere, view, etc. All of this information
constitutes a model in 3D. The process of transformation from a 3D
model to a 3D image is called rendering, this model is joined to a
virtual skeleton or stick figure that allows movement, many parts of
the virtual skeleton are related to real bones. The result of a rendering
can be a static 3D image or a Digital 3D Animation.
The softwares commonly used for the development of 3D animation
are: 3D Studio Max, Blender, Lightwave 3D, Maya, Softimage XSI. The
softwares commonly used for edition of 3D animation are: Cinema 4D
and Adobe After Effects.
Figure 14: Digital 3D Animation Sequence
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5.1 Types of Digital 3D Animation
CGI Computer Graphics Imagery
It is a technique that creates an animation generated from a
computer without the help of external devices. The design is entirely
digital from the beginning (structure) till the end (Image).
Figure 15: Digital Dory Model. (2015)
Motion Capture
It is a technique that is used to scan real movements like facial
gestures or body motion, with which it is possible to give life to objects
and characters in a digital 3D animation.
“Motion capture is the process of recording a live motion event and translating it into
actionable data that allows for a 3d recreation of the performance. In other words,
transforming a live performance into a digital performance”
http://www.organicmotion.com/motion-capture/
Figure 16: Skeletal Parameter from Motion Capture Data
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5.2 Analisys and Gallery Maps
5.2.1Toy Story
Directed by: John Lasseter
Produced By: Walt Disney Pictures and Pixar.
Categorie: Movie
Genre: Comedy Adventure
3D Digital Animation
1995
«The art challenges the technology, and the technology inspires the art.».-
John Lasseter.
Toy story was the starting point for a whole generation of digital
animation. The emergence of a global technological context gradually
transmuted the way to design and develop the animation. Solutions
to the movement of the characters similar to everyday objects,
textures typical of plastic toys and imitation lasers, became totally
innovative proposals, a digitized aesthetic that changed the way we
ever saw animation.
This film transcends classic and is crowned as a true cinematic
revolution. Each fraction was recreated from their scenarios and
environments, the human characters, toys and every detail. From
this film until the present there are hundreds of animated films in this
technique trying to increasingly innovate. Using familiar characters in
the audience as children›s toys and give them life, induces a romantic
and dreamy evocation that leads to relive moments of their lives.
I remember when this movie came out and generated very
controversial views and critics, some people were surprised at
what an animator could do with the help of technology, others on
the contrary view said that the technique was monotonous. Then
I begin to guess what would have happened if toy story had been
made from a manual technique. And the truth is that it would be very
interesting. The design and development of real toys, and a mixture
of techniques to represent the world of toys and the real world, like
the case of the Giant Peach. However, the mere fact of speculation,
refers me to think that then without Toy Story as we know it, we
would not have the chance to watch many possibilities that appeared
later and which is increasingly striking and interesting this technique.
Pre - production
First the story and all the conceptual chart was created, then
the digital characters, objects and scenarios first on sketch and
later in a modeling software. Starting from modelling to its material
texture and color.
The story was based in some parts of the relationship of John
Lasseter (Director, Animator and Founder of Pixar) with their own
toys from childhood. Woody the cowboy is based on a figure of
Casper the friendly ghost who was his favorite childhood toy and
Buzz Lightyear space soldier was based on the Gi joe who replaces
all his old toys.
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Characters:
The characters in this film are digitized toys that become
animated characters. Woody is a character who represents an old
toy of a united states cowboy made of cloth, like a ragdoll. He has a
string mechanism that makes him speak, he says comforting words
for children as «I always be by your side» . This character represents
the favorite childhood toy. On the other hand, Buzz Lightyear is a
new toy, with many technological developments such as tools, wings
and lights, he doesn’t know he is a toy, he thinks he is actually a
galactic soldier. Other toys that are used as characters are also very
interesting, toys that are recognized in time as Mr. Potato, the troll
or little green soldiers with which many of us played when we were
kidsIt is interesting that toys are based from their original functions to
fulfill its role in the film, e.g. the dog slinky that its spring allows you
to stretch and climb to reach high places. Or the remote control
truck which is controlled by the same toys, as well as magnetic tablet
that they can use to comunicate in distance, or the pig which in turn
is a piggy bank. Their personalities are related with their functions as
toys. All of the toys are created in CGI technique as well as the whole
film.
Scenarios:
Most of the film unfolds in the Andy’s room, also the warehouse
of toys, the outside world, and others. All made with digital technique
resembling reality
Production:
During production animation process is digital, encouraging the
already modeled characters at different stages in terms of camera
movements zooms tables showing the scene and proper lighting is
displayed. This production is also similar to the frame by frame, but
not with photography, instead with digital images.
Post - production:
To complete the process, this stage is in charge of adapting the
voices and the music of the entire film to coordinate with the already
animated material to make them fit perfectly. Then end up giving
touch-ups of lights and color to finish the process.
Distribution - Target audience
Toy Story is a film that was rated (G) family or suitable for all
audience. It is a genre that lends itself to entertain the entire family
using different jokes and humor to make it entertaining both for
children and young adults whom we recognize some of the toys or
characters we see in the new animations and allow us to remember
our childhood and when we played with them.
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Graphic 6: Toy Story map
5.2.2 Avatar
Directed and Produced by: James Cameron
Categorie: Movie
Genre: Science Fiction
3D Digital Animation - CGI and Motion Capture
2009
«I believe 3D is inevitable because it›s about aligning our entertainment systems to our
sensory system. We all have two eyes; we all see the world in 3D. And it›s natural for us to
want our entertainment in 3D as well. It›s just getting the technology - it›s really more the
business model than the technology piece. We›ve solved the technology.».-
James Cameron
Avatar is the ultimate visual reference to commemorate the
outstanding and evolved work in the 3D field.
The visual experience with Avatar has staged the many technological
gadgets in cinema. Technically it is above in the digital world. Its
concept, graphic elements and effects are unprecedented.
The fictional universes James Cameron presents are the product
of our experiences and claims in the virtual environment in which
we live. Dressing the body through the transformation of stylistic
features, surreal landscapes, fluorescent animal textures, strange
flights, is an invitation to focus on the synthetic product world of
digital techniques of the time.
The digital era is what has made it possible that the space between
the hyper-reality and reality becomes increasingly narrow.
It seems very important to note this example in the galleries of
analysis because it allows us to see how these two cinematic styles
are mixed obtaining excellent results. Also it allows us to analyze
better the digital technique in relation to the real action and how its
fusion is what gives strength to these innovative and special graphics
on this film.
This film was made in live action mixed with digital animation CGI
because it was the best way to represent the action and events
that occur in it. This technique is quite appropriate for the film since
their scenes were full of fantasy, requiring different effects. If it had
developed in a manual technique, I am sure that they would have not
obtained results so complex and of such high quality when it comes
to mix this technique with the live action technique, also the strong
colors that do not exist in real life and the realistic and at the same
time fictional scenarios. If this film had been made in the analog
technique the process would have been much more complex for the
majority of scenes in which animation at high speed was required.
Scenarios would have been possible in models with a great level of
detail but that chromatic game which is one of the aspects that make
this movie a success has not yet been achieved.
This seems to me an important example to defend the digital
technique, is completely appropriate for the intention of the movie.
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Thanks to this example we can understand that the digital technique
is a very strong technique used in the appropriate context, because
it reinforces the graph and the concept of the film. We can also see
rapid movements and camera tracks that are only possible in the
digital animation process.
Pre - production:
Idea, conceptualization, storyboard, script, modeling 3D
characters, scenes or necessary graphics, props and costumes,
makeup.
The first step was the creation of history, then the storyboards,
scenes, characters, graphics and visual concepts were defined.
Characters and scenes of the Pandora Planet, robots and humans
ships were modeled in a 3D software, colored and textured.
Characters:
The characters and their characteristics are striking and
interesting. They are like a kind of humanoid with some animal
characteristics, long arms and legs and to survive, a tail that allows
them to connect with nature. This last item reflects the union with
nature and with other human beings. They are blue and have like an
indigenous style who dress fabrics and animal skins, they belong to
another planet called Pandora.
The animals and vegetation of Pandora are modifications of existing
objects in the real world combined with fantasy, making a completely
new and interesting scenario that integrates two realities in one. It
has excellent color and composition management.
There are also human characters.
Scenarios:
There are fictional scenarios, which are created with a stunning
and dramatic design that captivates the viewer. The planet Pandora
is alive and has thousands of violent creatures. It is a jungle in which
has not been introduced technology which finishes with the heart of
nature. It is a paradise where the beings that inhabit it are connected
to it through a loop of birth(circle of life).
The graphic language used in this places is amazing they were based
on incredible existing places in the world to create the movie scenes.
Others were created from the imagination.
When night falls, we can see that some plants and creatures
illuminate with fluorescent colors. Those effects are a perfect
complement to this 3D Digital Animation film.
Production:
Live action, recording with editing by chroma (blue/green
screen), motion sensors, Digital 3D animation.
Once they knew what was required to develop the project, they
divided it into two parts, one is the part that is the real world that is
made into live-action in which actors make their role and act in front
of the cameras. The second is the motion capture and the CGI in
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wich the actors are located in green funds to achieve the effect of
chroma. They use motion sensor in the body that are digitized and
interpreted by the previously modeled 3D characters. The movement
is fluid and more like reality. They also use CGI in the scenarios. So
this part is about filming and also creating the whole motion and
appearance of the movie.
Post Production:
Visual special effects, audio, editing, sound, detail and finish.
In this process the adequacy of the characters was improved. They
also edited and gathered scenes which combined fantasy with reality,
allowing the animation take its final shape. Audio is added and given
the final details of retouching.
This film covers various age groups, it is a movie with modern
effects and imaginatively mixed with incredible scenery. The story is
a bit stronger and shown in some scenes chaos and destruction,
danger and even sex, it is recommended that children under 13
years do not see it, listed as (PG13), meaning it should be seen in
the company of an adult.
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Graphic 7: Avatar map
5.2.3.The LEGO Movie
Directed by: Phil Lord and Christopher Miller
Produced by: Dan lin and Roy Lee
Categorie: Movie
Genre: Comedy Animation
2014
«“We made something that uses Lego as a medium to tell a story, rather than a story to sell
Lego. We saw it as a way to talk about creativity.”».-
Christopher Miller
I chose it as an example because it is similar in some aspects to
the movie Toy Story. Toys are the protagonists, and there is a child
playing with them and was carried out in this digital art by software
that tries to simulate textures and real objects. However, we must
recognize that tableting technology is more modern than Toy Story,
and this precisely what makes me analyze it.
In this gallery we see the example of Lego film which was well received
worldwide both children and adults who like me have a child inside.
Its plot is interesting and is a critique on different aspects. Criticizes
adults who buy and collect lego pasting and leaving as ornamental
when children who could really play with this and use it to create,
which is the original idea and base concept, build and create. The film
also criticizes society, how people become a kind of copy of the other,
losing its originality, losing confidence in ourselves and the possibility
of general innovative solutions.
But more than the conceptual plot of the movie, what is really is
interesting is the way in which it was developed which makes it an
interesting example of digital animation. It is performed by this digital
art depicting figures, objects and bricks of lego to achieve a similar
appearance to reality. This is one of many examples I have given in
which we can conclude that the technical and visual style reinforce
the frame and the concept of the film.
If this animation process had developed in stop motion, the work
would have been much more extensive, tedious and complicated.
The team would have had to build brick by brick and stage by stage
which would take too long and cost materials to be made, it would
also be difficult to commission exactly the number of bricks that
would be needed, so that we can begin to conclude that the digital
3D animation has the advantage of optimizing processes in terms
of time and sometimes money. Likewise, the process would have
been complicated making such special effects or these explosions
and destruction of structures or buildings to be done manually would
have required much more work and the result would not have been
the same as it was digital. LEGO is composed of small bricks or tiles
to build their structures making it difficult to see the spontaneous
and fluent work, because the material they are made is quite stiff,
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this would have complicated the process of Stop Motion. And if we
think Clay Motion, which could be the solution for rigidity, it would be
completely lost its likeness to the original material of LEGO.
Even though there have been a large sum of short films made in lego,
using stop motion with good results, still have not achieved results
with a similar level of this film about the quality of movement, effects
and fluency. The reason why the film was made in this technique was
mainly because it was a more agile and practical way to perform many
special effects and movements. I do not deny it would be interesting
to have seen the results in Stop Motion, which could have given some
interesting and positive results in terms of realism and texture, but
in turn would have lowered their quality in terms of movements and
special effects.
Pre - production
Idea, conceptualization, storyboard, script, construction of
models and scenarios in LEGO (physical), script, character selection.
Modeling and construction of each real piece in digital.
In this case in pre-production, the story is created, which is based
on any story that would create a child playing with his LEGO bricks in
his basement. Lego scenarios were created in actual size for some
scenes in stop-motion, but then digitalize to animate and create
effects and distortions of the material more easily. While other
scenes were directly created in a 3D graphics software generated
by computer.The CGI software they used was the «Lego Digital
Designer», which is a program that allows the user to build digital
models with Lego pieces. Each piece was modeled separately with
Maya Animation Software and XSI.
Then they added some defects such as scratches to the finished
brick structures, hairs or fingerprints to give more realistic feel.
Characters
The characters in the film are based on existing characters from
LEGO, to which they were assigned a role to play in history.
They belong to different LEGO worlds as in the example of Batman,
Pirate Beard metal or builder astronaut who is a figure of the first
LEGO versions Their shapes and textures are simulating the actual
figures through this digital software allows providing more flexibility
and dynamism in their movements without removing the essence of
brick toys.
Scenarios
The scenarios in the film are based on existing worlds from
LEGO, and are constructed giving the illusion of the real ones.They
are the different scenarios found in LEGO collections such as the
Medieval world, or the Pirate World and the Old West, or even the
stage of the Sky in which pieces more feminine and colorful lego
used. These scenarios are recreated through bricks simulating even
in natural elements such as water, smoke etc.
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Production
Digital Animation (3D Animation software)
At the stage of production is encouraged 99% software for 3D digital
scenes and 1% in animated Stop Motion.
Once is all completed for postproduction, the team starts the process
to turn to the special sound effects, voices with actors depicting the
characters, and music sound track.
Post - production
Special Visual effects and audio, editing, music and completion.
In post production the entire animation is finished, uniting software
made animation and stop-motion animation. The team gave the
finishing touches to Edition, details and coloured the scenes, they
added music and adapted previous voices or sound effects .
Distribution-Target Audience
For lego movie content is catalogued as (U), for over 4 years
which makes a family film. All types of audience can enjoy it and
its story is entertaining simulating the story that would create a
child playing with LEGO. I also think that it covers a little of the adult
audience who has identified with this toy and reminds him of his
childhood.
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Graphic 8: The LEGO Movie map
Comparative Chart
6. Comparative Chart
Between Analog and Digital 3D Animation
According to the information and analysis that so far I have raised in this thesis,
it is important to draw conclusions that allow us to see the advantages and
disadvantages of each technique in order to rescue the best of each, techniqueand
their limitations.
Graphic 9: Comparative table between Analog and Digital 3D Animation
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7. Fusion betweenAnalog and Digital
7.1 Argument
The above reflections on analog and digital technique, are pros and
cons, gives way to the next analysis based on graphs and narrative
arguments that demonstrate the surprising and important result of
the fusion of these two techniques, temporarily distant but attractively
united. The sighting of a digital era, the spread of their progress,
the qualitative graphical processing, the use of softwares that allows
performing specific tasks in a short time, set immediately the feeling
of innovation that can light and lead us to a new cycle.
Throughout time digital techniques have managed to cross barriers,
gaining maturity in their processes and outcomes, leading to new
generations of modeling, animation, lighting and rendering. The
effervescent moment of digitization has enabled the optimization of
production processes, playing spaces, textures and colors alluding to
reality, using practical design elements for its representation
«When a form has been derived from nature, or of the world made by humans, is representative»
(Wong, 1979 :12)
However the so abused technique has provided homogenization of
graphically images, such as character traits, textures, scenarios.
Wucius Wong in his book fundamentals of design says
«When we draw an object on paper, we employ a visible line to represent a conceptual line.
The visible line has not only long but also wide. Its color and texture are determined by the
materials we use and how we use them. So when the conceptual elements are visible, as are
shaped, color and texture. The visuals are the most prominent part of a design, because they
are what we actually see». (Wong, 1979: 11)
In the digital age these visual elements are those that are determined
by the used material, and which have become standard factors to
the viewer›s eye to the point of confusion between characters and
stories.
In the opposite direction, the analogous technique is the laboratory
where new materials, shapes, textures and structures of a character
or a scenario become an idea that be can perceive, distinguish and
remember. This analog world is immersed in the tactile textures
whichas mentioned by Wucius Wang
«Is the kind of texture that is not only visible to the eye but can be felt by hand. The
tactile texture rises above the surface of a bi-dimensional design and is concerning a threedimensional relief». (Wong, 1979: 85)
All this handmade content leads us to obtain an identity through a
process of individuation. But is it possible to conceive this way of
constructing images without the current context? without the spacetime axis as the requirement of every narrative and product?
No way, the context and the situation are the differentiating variables
in the outcome of the creative process.
That is what begins to reinvent analog by the hand of digital, revaluing
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Fusion Between Analog and Digital
their production processes and results. Preserving them separately
may seem insistent and repetitive. What results surprising about this
combination of techniques are things like when the viewer is tempted
to think of scenarios developed at small scales with hyper-realistic
touches belong to our daily lives.
This is the case of the famous film director Peter Jackson with The
Lord of the Rings, where with the help of handmade technique was
allowed to create realistic and detailed scenarios like Rivendel.
In this film we can also see how they used makeup, prosthetics,
Figure 17: Jackson, Peter: Rivendell Scenario Model. (2001)
mold making handmade and lots of gadgets for the transformation
of actors. And undoubtedly another example that manages to
blend with reality is “Gollum” which is materialized through motion
capture technique. This technique completely covers the practical
requirements of this character, which characterizes its quadruped
position and elusive movements, achieving harmony in the composition
and the environment.
The collage between these two techniques becomes a practice that
can take different sides and therefore can generate interesting and
innovative value propositions, creating an effect of surprise and
seduction by audiovisual narratives in the viewer.
In the next gallery I will show three films, in which the use of this
collage techniques are well manage and can bring fruitful results.
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7.2 Analisys and Gallery Maps
7.2.1.Jurassic Park
Directed by: Steven Spielberg
Produced By: Kathleen Kennedy and Gerald R. Molen.
Categorie: Movie
Genre: Adventure - Science Fiction
Mixed Technique
1993
«The only movie that I would ever even consider retrofitting is the first ‹Jurassic Park,› which
I think would look pretty spectacular in 3D. That›s the only one of my films that I would
consider doing in 3D.».-
Steven Spielberg
This movie seemed like an excellent example of a mixed technique
in real action and animated with both analog and digital for the
development of these dinosaurs, mixing these two techniques for
very convincing results close to the reality. The film was made in
1993 an era in which digital technique was not so strong and had
not developed to such a level to encourage all these giant dinosaurs
so easily, and get them to interact and to fit correctly with these
actors in live-action. It is important to mention this movie on the
galleries because with it we can analyze how both techniques worked
together with live-action in a complete and interesting way to help
among them to achieve very real effects. It is important in the history
of animation, since from this film that became an instant blockbuster,
have experienced these techniques now making even more incredible
things, even from the same sequel to Jurassic Park, which opens in
2015 as Jurassic world.
If this movie had done all in Stop Motion it would not have been able
to make several scenes that require speed and agile movements
in dinosaurs not as serious and realistic as possible. While being
developed only in digital form would have given more chances to
play with the planes in which the image is taken and also to give
more drama and more complexity to the scenes, but still with very
digitized textures and movements. And it would have lost the realistic
appearance that they wanted to achieve. The mix with digital and
analog technique is much more effective than using one of the two
techniques, especially given the time, when digital technique was just
beginning.
Pre - production:
In the process of this film, they use the novel by Michael
Crichton to recreate this Jurrasik world. It started with a very
thorough research process with paleontologists and experts in
this area. Once they got the necessary information and studies,
Stiven Spielberg made a storyboard choosing specific scenes that
he wanted to show in the film and determining the story. Later the
group of Stan Winston recreated the storyboard on small models
with real dolls of the characters and dinosaurs, simulating the prior
created by Stiven Spielberg. This 3D / Animatronic storyboard gave
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them the possibility to organize in detail the lights and the elements
required in the real set. Finally, they used digital dinosaurs and giant
robots with certain robotic movements. In this stage of the process,
the team experimented the Go-motion technique, but still looked very
fictitious and the idea was to show dinosaurs as realistic as possible.
So they made it in digital form and the objective was achieved, a high
level of realism to the era in which it was made.
Characters:
The characters (dinosaurs) were made in miniature and first
hand designed to take definite shape, textures and color. The most
important parto was to make them look real 100%.Then they
developed giant sculptures in clay of some of the dinosaurs as
prototypes of the sculptures that were use in the process to make
huge molds, then they added silicone to create skins that covered
these gigantic structures making them look as realistic as possible.
When Dinosaurs did not have many moves in the scenes, the team
used these huge robots with some special effects and certain
robotic movements to give these a sense of realism. Furthermore
this process of robotics dinosaur structures gives support and
movements. Is the skeleton which allows the robot to move and act.
To finish this process these robots were covered with silicone molds,
then colored, and then they gave the final touches and makeup to
make these dinosaurs look real.
Scenarios:
They chose and prepared the different sets and locations for the
scenes. The team constructed buildings and necessary structures
for production. The sets were the genetic laboratory, the main room
of the barracks, the outside of of the tyrannosaurus rex cage, and
other scenarios were generally out doors.
Production:
During this process, they made the shooting in different sets
and locations like Hawaii and California in the Mojave desert.
They also performed the sounds and different special effects such as
the vibration famous in the water.
Post - production:
The team made several tests of movements and positions of the
dinosaurs on stage to give the level of realism that wanted to obtain.
Later they created articulated robots connected with software that
gave the robots movements through the characters previously
modeled in a computer. Then they made the sounds, special effects,
mixing and rendering. And the last step was the edition of the hole
material.
This film presents a rather strong content for children under 10
years old, contains scenes of violence. In this film the audience to
which it was directed are people above 13 years old (P13).
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Graphic 10: Jurassik Park map
7.2.2.The Bear and the Hare
Directed by: Elliot Dear / Yves Geleyn
Produced by: Adam&EveDDB
Categorie: Commercial Advert for John Lewis
Mixed Technique
Topic: Christmas
2013
«Through the use of hand-crafted animation, we›re hoping to evoke nostalgia and build
anticipation ahead of Christmas..».-
Craig Inglis (John Lewis Marketing Director)
Again we appreciate the manual and digital come together to produce
a great result. The graphic quality in the design of the characters,
the meticulous detail to distribute and set the characters spatially
generating the movement, the creativity in the whole production
process.
Manual animation, as a traditional technique becomes a sensory
operation allowing itself to evoke nostalgia of Christmas in a
shopping context. While the digital work is responsible for facilitating
processes and acclimate the analogue with his incredible handling of
effects and efficient way to work.
This example is a mixture of digital and analog techniques, in which
the portion of the digital work is mainly in the production of the
characters that were made in hand sketch and later were vectorized
and printed to be cut and became characters with their movements
, they organized them into categories for an easy way to produce
the animation. We can clearly see the Cut Out animation in this
development process.
This commercial advert certainly could have been present in other
ways to the public, may have developed all digital or analog. However
the mixture provides great convenience and reinforcement of the
concept. Not only is presented as a similar challenge, but also as a
way to optimize processes and bring a variety of techniques to the
content that enhance the final product.
Their concept is to evoke the warmth, family atmosphere, the
meaning of Christmas in the eyes of a modern public, allowing us to
understand that the technique is based on the traditional to the eyes
of a technological world. It is a commercial that certainly intended
not only to sell a product but incorporate all kinds of feelings through
art, and it brings us an innovative way to transmit a message
Pre Production:
This is a very important stage in this example, because it is
what gives the distinctive factor of the animated piece.
Idea, conceptualization, storyboard, script, model building /
scenarios, illustration and digital sketch characters, gestures, props,
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printing and trimming and completion of each piece.
For the development of this advertising, pre-production process was
basically the idea, conceptualization and preparation of the model,
characters and other necessary details. They also organized the
required lighting and a storyboard to arrange times and scenes.
Characters:
The characters were illustrated handsketch pose by pose, once
they were defined, they were digitalized and colored. After having
each character position they were vectorized, printed on paper or
some type of thick cardboard. Once they were cut, they stored them
in order in their respective drawers ready for production.
The lines and style of the characters are smooth and polished, with
characteristics of real animals but with a tender graphic style.
Scenarios:
The scenario was a 100% handmade model with impressive
detail. Interesting materials such as polystyrene were used to
simulate snow on the ground or in trees, rocks to achieve the cave
where the bear lives, or papers to prepare gifts, variety of materials
making each piece in detail.
Production:
Stop-motion animation frame by frame, physical, actual lighting.
In the production stage frame by frame animation stop-motion was
developed. The characters were changed at each feeding with their
respective pose giving the impression of movement..
Post Production:
Special visual and audio editing, music and end effects.
The correction of missing details and mistakes, then the edition to
complete this amazing work. The correction of any missed detail.
Distribution-Target audience:
This advertisement is made for the whole family at Christmas
time and its history tries to evoke the audience to feel some nostalgia
and spirit of Christmas. The advertising message is to buy the best
gift on this date for the loved ones. Category (G).
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Graphic 11: The Bear and the Hare map
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7.2.3.The BoxTrolls
Directed by: Graham Annable and Anthony Stacchi
Produced By: Travis Knight and David Ichioka (Laika)
Categorie: Movie
Genre: Comedy Animation
2014
«“Animation, you think of it as kind of an industrial product because they’re mostly
manufactured by these big, big corporations. But, if you look back historically, animation can
be used to tell very, very personal stories in powerful ways.”».-
Travis Knight
The Boxtrolls became the essential and decisive element in to
appoint a «cocktail effect» in animation, in which a mixture of
recognizable ingredients creates a differentiator and added value in
production design. The skills and effort are focused on the realization
of characters and spaces in a perfect claymation work, which are
modified with enormous subtlety for later fictionalize the movement
of these.
In this case the stop-motion recreates in emphatic proxemics
condition characters like The Boxtrolls: Monsters living in the
underground tunnels of the city, seize them and make use of space
as their home.
From the opening scenes to the end of the film there is a sense of
wonder in the characters and their gestures, under the stress of a
technique that is characterized by not neglecting details that range
from what materials to use on stage, objects, and even how to play
with these to create textures with worn appearance. Boxtrolls uses
old trades such as the stop-motion and 3D translates to a modern
aesthetic, emphasizing the aesthetic value, finding different ways to
develop the animation and presentation of traditional techniques.
I chose this film because I think it is the most important example of
all the examples in the galleries, as it achieves to get closer to an
approximate answer to the main question of the thesis. This example
shows the fusion of the two techniques as best seen before in the
history of animation.
Travis Knight, with the help of digital printers and cutting-edge
innovations, tries to rescue the best of the stop motion technique,
especially their real fluid movements, shadows and lighting as well
fused to actually achieve a three-dimensional atmosphere very similar
to a live action film. These movements and nearly perfect lighting
are elements that even through digital animation have not managed
to replace. It is a extraordinary way fo mixing this two techniques
and take all the advantages of all of them, giving to this movie an
impresive graphic style and also practicity.
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Pre - production:
Idea,
conceptualization,
storyboard,
script,
character
modeling clay, construction of models / scenarios, 3D modeling
props, gestures, previously modeled 3D printing prototyping, final
construction of characters and props, assemble each piece by hand,
retouching, costumes, makeup and details.
The story is based on the novel Here Be Monsters! by Alan Snow.
A concept backed by an excellent children›s story and helped by an
elaborate technique, seduces the viewer.
The group Laika Studios had already developed stop-motion before on
Coraline and Paranorman movies. But never with such a high quality
and such a bold creativity at the time of pre production. In this stage
they required a large sum of money and work, as the producer of
the film decided to conduct much of the production elements using
3d digital printing, such as expressions of the characters and some
details or elements that could facilitate the process of pre-production.
The intentions were to achieve more fluid and realistic movements in
animation and speed up the final production of the characters and
scenarios.
This film reflects the talent of people who worked sculpting this little
world all by hand. It is a valued technique and opened doors for
different companies in the animation industry to be inspired by this
technique in order to achieve retaining the manual technique, which
can be appreciate as a special and detailed production with the help
of technological attributes and digital media.
Characters:
The characters are made with a high level of detail. Humans
have exaggerated features, such as The Trolls Hunters with their
exaggerated physical forms or The Gentlemen in White Hat with their
long noses and big ears. The costumes are devotedly handmade with
high quality, designed from the choice of fabric, design and colors.
The textures are also important, as it give a level of detail giving a
sense of realism to the image.
The Boxtrolls are little monsters who lives in the sewers, but are
tender and nice beings. Their design is unique, its expressions and
personality. The graphic language that defines them is shocking.
The characters were drawn in pencil and later sculpted in clay, with
metal skeleton inside. They finished the figure by painting, dressing,
defining details, hair, different fabrics and finally making up. Then they
developed the character faces of the characters in a digital software
to perform the different expressions and be able to print on a 3D
laser printer with its colors and textures. The final touches were
given and the characters were ready to be animated in stop motion.
57
Scenarios:
The scenarios used in this movie are also handmade using the
technique of 3D digital printing in some details or elements,The
spaces were developed large so that the characters would fit
perfectly. The enviroments are usually dark with opaque shades. The
graphic language is very striking and interesting and the level of detail
of every little element is what makes this movie a graphically enriched
and high quality film.
Production:
Stop-motion animation frame by frame, physical actual lighting
In this production process the animation was done in stop-motion.
The scenes were organized according to the storyboard, the different
expressions and characters that appear. The correct lighting, camera
positioning and movements were required to make this serial work, a
workk that took weeks.
Post - production:
Special effects and audio editing, music and completion.
This process commissioned to compile everything that was done in a
software and add the finishing touches as highlights or colorization.
Then, voices performed by actors who interpret, music composition
and sound effects were added. Some visual special effects are also
added to complement the process. Then they test one of the best
animated products made in this fusion of techniques so far, and
review all the work done.
The film seems very good and I really like the language used in
both the characters and scenarios. I find interesting the fusion of
techniques in this case, making the animation look much complete.
Distribution-Target audience:
The film›s target audience was category (PG) which means that
children under 10 years should be accompanied by an adult. There
are violent scenes and some shocking images.
58
Graphic 12: The BoxTrolls map
59
8. Conclusion: The Theory of Reinvented Indentity
The intention of this thesis revolves around two analyzed directions
in animation. The analogous art and digital art.
On the one hand there is the timeline that allowed us to place
ourselves within the variable space - time to define starting points,
progress and results. On the other side there are the definitions
and researched material documenting the basic information
on the categories and the expression of each technique. And
supplementing the above information, there are the galleries which
are graphic and analytical device, and which fulfilled the role of
backbone to obtain context analysis, application of these techniques,
processes, progress and values of each technique and the fusion of
them.
This research, creative and analytical process gave way to
developing a rigorous result for the conceptualization of my
reflection:
Why should we preserve the analogous art in a digital age?
«The computer-aided design could serve as an emblem of a great challenge facing modern
society: to think like artisans make good use of technology» - Page: 61. Bibliographic
Appeal: The Craftsman. Author: Richar Sennet
«It is possible that the term» craft «suggest a way of life that waned with the advent
of industrial society, but that is misleading. «Craft» means a durable and basic human
impulse, the desire to perform a task well, no more» - Page: 20. Bibliographic Appeal: The
Craftsman. Author: Richar Sennet
Something that these statements make clear is that the design is
product of our human capacity to create, change and transform,
being in an era where only survive those best adapted to the change
in this industrial times, referring to the foundation of a digital era,
where thanks to these constant characteristics of this century, we
can observe a serial and standardized graphical results with similar
style, uniform textures and features that forces us to rethink and
invest in new forms and ways of conceiving the design and artistic
expressions. This is where the same contemporary declares the
need to reinvent the traditional or analogous techniques in situations
that demand new and rigorous solutions. Outside is a discerning
viewer and also yearning for novelty.
There is an interest in establishing creative and enriching value of
analog and digital technology, to dump both to the novelty factor.
These are two areas that develop different practices, but we could
say that they have the same purpose of creating and solving worlds,
each under its guidelines: a slow, detailed, patient, traditional the
other one, fast, modern, technological. Poles technically apart but
attractively together. To combine these two techniques leads us to a
growth mindset of creating new proposals of an extraordinary value.
One of the terms that best unites these two poles is to reinvent,
60
Conclusion
to claim traditional, evolve it based on the benefits of modern
processes and thereby gestate the value of authenticity. This term
is nourished by the way that both techniques go hand in hand, they
are not enemies, on the contrary, they represent the two sides a
feedback process that is performed by filling the gaps that each
technique has with respect to the other. A technique performed
manually reflects the human being and the digital technique reflects
the help of the machine, both together enable a better use of their
benefits and strengths to complement each other and achieve the
best way to make an animation.
It is worth to notice in strict sense that even in this digital age the
human factor is needed as a creative and productive side in a piece
of work, marking an authentic and human future. Human hand
brings value, identity, differentiation and authenticity. Interpret our
own individuality in a correct way, gives distinctive character to the
work we do and to mix this with the actual technological innovations,
generates a surprise and shock effect on the viewer.
Thus to conclude, it is important to consider the importance and
relevance of the analogous art for animation processes, even
when we are in a digital age, because losing the manual technique,
also refers to lose our human and creative identity that constantly
achieves this high level of quality in many textures and finishes, while
we can mix both to innovate and create as well.
61
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68
Fig. 6: Decomposition of movement in still images. (1872). Animation.dreamers [Online].
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Fig. 12: Méliès, Georges: Georges Méliès Le Voyage Dans la Lun. (1902). Animation.
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faces. (1906). Animation.dreamers [Online]. Available at:
Fig. 14: Segundo de Chomón The Electric Hotel First intention of pixelation (Stop motion).
(1908). Filmaffinity [Online]. Available at: http://www.filmaffinity.com/es/film125740.html
Fig. 15: Sullivan P. and J. Oriolo: Pat Sullivan and Joseph Oriolo Felix The CatFirst Animated
Character. (1917). Haggardandhalloo [Online]. Available at: http://www.haggardandhalloo.
com/wp-content/uploads/2014/04/f.jpg
Fig. 16: Fleischer, D. and M. Fleischer: Fleischer Brothers The Rotoscope. (1916).
Animation.dreamers [Online]. Available at: http://www.animation.dreamers.com/articulos/
avanzes_tecnologicos.php
Fig. 17: Disney’s first Animations. (1919). Animation.dreamers [Online]. Available at: http://
www.animation.dreamers.com/articulos/avanzes_tecnologicos.php
Fig. 18: O’brien, Willies: Willies O’brien The lost world - Stop Motion Special Effects. (1925).
Findelahistoria [Online]. Available at: http://www.findelahistoria.com/2014/02/el-mundoperdido/
Fig. 19: O’brien, Willies: Willies O’brien King Kong - Stop Motion Special Effects. (1925).
Spectacularoptical [Online]. Available at: http://www.spectacularoptical.ca/wp-content/
uploads/2012/08/King-Kong.jpg
Fig. 20: TV Invention. (1928). Prezi [Online]. Available at: https://prezi.com/
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zo1y3kqybbiw/504-world-history/
Fig. 21: Warner Brothers 30’s. (1930). Aurorasginjoint [Online]. Available at: http://
aurorasginjoint.com/2012/09/01/the-culture-at-warner-bros/
Fig. 22: Hanna Barbera 50’s. (1950). Logo Screenshot [Online]. Available at: http://i.ytimg.
com/vi/lWQdX9c_-0w/hqdefault.jpg
Fig. 23: The Beast from 20000 Fathonms Animation in special efects Robots. (1953).
Cornucopia.theiapolis [Online]. Available at: http://cornucopia.theiapolis.com/goodies/
b6eVt/the-beast-from-20-000-fathoms-from-warner-bros.html
Fig. 24: Gumbasia First Claymotions series. (1955). Ofm [Online]. Available at: http://www.
ofm.co.za/article/A-Slice-of-Life/70621/The-creator-of-Gumby-would-have-been-90-today-You-will-love-this
Fig. 25: Perego, Maria: Maria Perego Topo Gigio. (1958). Vivienlos70 [Online]. Available at:
http://vivienlos70s.com/wp-content/uploads/topo-gigio-248x300.jpg
Fig. 26: Sutherland, Ivan: Ivan Sutherland Sketchpad, A Man-Machine Graphical
Communication System. (1963). Blog.render [Online]. Available at: http://blog.render.com.
br/cad/a-historia-do-cad/
Fig. 27: Mary Poppins Mix: Actors and Animated sequences. (1964). Squidlondon [Online].
Available at: http://www.squidlondon.com/squidlondon/wp-content/uploads/2012/07/
mary-poppins-1964-06-g.jpeg
Fig. 28: Catmull, Edwin: Edwin Catmull (Actual Pixar’s president) Hand First Digital Animation.
(1972). Proyectidis [Online]. Available at: http://proyectoidis.org/futureworld/
Fig. 29: Heffron, Richard: Richard T. Heffron Futureworld. (1976). Daruma-view [Online].
Available at: http://daruma-view.it/recensione-dvdbluray/futureworld-2000-anni-nel-futuroblu-ray-disc
Fig. 30: Lucas, George: George Lucas Star Wars construction of ships and scenarios as the
star of death. (1977). Beyondhollywood [Online]. Available at: http://www.beyondhollywood.
com/uploads/2013/01/Star-Wars-1977-Movie-Poster.jpg
Fig. 31: Tron Digital scenarios. (1978). Collider [Online]. Available at: http://collider.com/
steve-lisberger-interview-tron-blu-ray-remastered/
Fig. 32: Burton, Tim: Tim Burton Vincent Claymotion. (1982). Cinemascope [Online].
Available at: http://cinemascope.com.br/colunas/oompa-loompa-colunas/vincent/
Fig. 33: The Adventures of André and Wally B First 3d Digital Animated cut. (1984).
Pixarplace [Online]. Available at:
http://www.pixarplace.com/wp-content/uploads/landing_12.jpeg
Fig. 34: Gutmann, Otmar: Otmar Gutmann Pingu Clay Motion. (1986). Tinyop [Online].
Available at: http://tinybop.com/img/loves/_maxed/pingu.jpg
Fig. 35: Burton, Tim: Tim Burton The Nightmare Before Christmas Claymotion - Digital
70
retouch. (1993). Examiner [Online]. Available at: http://www.examiner.com/list/the-mustsee-christmas-movie-list-for-the-eclectic-taste
Fig. 36: Jurassic Park Mix of Analog, Digital and Live Action. (1993). Designmantic [Online].
Available at: http://www.designmantic.com/blog/movie-moods-in-typography/
Fig. 37: Toy Story First 100% Digital 3d Animated Movie. (1995). Chicadelpanda [Online].
Available at: http://chicadelpanda.com/2010/08/
Fig. 38: NDR filmes Cassiopeia. (1996). Yamashitatereza [Online]. Available at: https://
yamashitatereza.wordpress.com/tag/cangaco/
Fig. 39: Star Wars episode I – The Phantom Menace Almost every scene use 3D graphics.
Aliens and realistic 3D animated creatures. (1999). Theactionelite [Online]. Available at:
http://theactionelite.com/site/wp-content/uploads/2012/07/Phantom-Menace-The.jpg
Fig. 40: Simbad beyond the veil of mists. First movie in Motion Capture. (2000). Sobadbooks
[Online]. Available at: http://sobadbooks.com/wp-content/uploads/2014/04/sinbad3.jpg
Fig. 41: Lord of the rings Scenarios in volume Animation Motion Capture The creation
of Gollum/Smeagol. (2001). Moviefancentral [Online]. Available at: http://www.
moviefancentral.com/cochise-2?page=9
Fig. 42: Matrix. Mix of 3D and Reality. (2003). P2e [Online]. Available at: http://p2e.mobi/
wp-content/uploads/the-matrix-reloaded-7.jpg
Fig. 43: Beowulf Made in CGI with motion capture and real actors capturing your most
detailed expressions. (2007). Denofgeek [Online]. Available at: http://www.denofgeek.com/
tv/beowulf/33380/itv-announces-13-part-beowulf-series
Fig. 44: Avatar CGI and Motion Capture, Scenarios in entirely CGI. (2009). Nycprowler
[Online]. Available at: http://nycprowler.com/2014/05/29/avatar-a-live-show-yup/
Fig. 45: Frankenweenie. (2012). Openlettersmonthly [Online]. Available at: http://www.
openlettersmonthly.com/issue/wp-content/uploads/2012/10/1Id-squeeze-him-but-hedprobably-burst.jpg
Fig. 46: The hobbit - first use of «hight frame rate» in a film of CGI. (2012).
Battlelog.battlefield [Online]. Available at: https://battlelog.battlefield.com/bf3/es/
platoon/2832655391786132734/
Fig. 47: Paranorman One of the first movies that mix Analog and Digital 3d. (2013). Animarte [Online]. Available at: http://www.anim-arte.com/paranorman/
Fig. 48: Frozen. (2013). Kapanlagi [Online]. Available at: http://www.kapanlagi.com/
ragam/tag-populer/film_animasi/resmi-film-pendek-frozen-akan-tayang-dalam-waktu-dekat6815f3.html
Fig. 49: Lego made to innovate through software that manipulate the lego bricks for the
development of 3D. (2014). Passionweiss [Online]. Available at: http://www.passionweiss.
com/2014/12/30/passion-of-the-weisss-2014-movie-round-up-20-film-recommendations/
Fig. 50: The Boxtrolls. (2014). Cganimationblog [Online]. Available at: http://www.
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cganimationblog.com/category/studios/laika/
Fig. 51: Hobbit 3. (2014). Screencrush [Online]. Available at: http://screencrush.com/thehobbit-3-poster-banner/
Graphic 2: 3D Analog AnimationTechniques
Graphic 3: Nightmare before Christmas map
Fig. 1: Selick, Henry: The Nightmare Before Christmas, Movie Cover (1993), Stop-Motion
Animation: The Nightmare Before Christmas [Online]. Available at: http://www.lomography.
com/magazine/lifestyle/2011/11/24/stop-motion-animation-the-nightmare-beforechristmas
Fig. 2: Tim Burton, Photography (2015), 10 Real People Who Would Make Awesome Book
Characters [Online]. Available at:
http://paintersoflouisville.com/tag/tom-cruise/
Fig. 3: Selick, Henry: The Nightmare Before Christmas, Preproduction sketches (1993), The
Making Of The Nightmare Before Christmas VOB, Screenshot [Online]. Available at: https://
www.youtube.com/watch?v=kLw-Fo8uhis
Fig. 4: Selick, Henry: The Nightmare Before Christmas, Preproduction storyboard (1993),
The Making Of The Nightmare Before Christmas VOB, Screenshot [Online]. Available at:
https://www.youtube.com/watch?v=kLw-Fo8uhis
Fig. 5:Selick, Henry: The Nightmare Before Christmas, Preproduction Mold (1993), The
Making Of The Nightmare Before Christmas VOB, Screenshot [Online]. Available at: https://
iFig. 26: Selick, Henry: Postproduction Ghosts, The Nightmare Before Christmas Production
(1993), The Making Of The Nightmare Before Christmas VOB [Online]. Available at: https://
Fig. 27: Selick, Henry: Postproduction Zero, The Nightmare Before Christmas (1993),
Megashare, Screenshot from the Movie [Online]. Available at: http://megashare.info/watchthe-nightmare-before-christmas-online-TWpreQ
Graphic 4: Grizzlybear - Ready, Able map
Fig. 1: Grizzly Bear: Grizzly Bear, Veckatimest Album Cover (2009), Soloneba [Online].
Available at: http://soloneba.com/nico-muhly-classic-game/
Fig. 2: Schulnik, Allison: Preproduction Character and Scenarios, Ready, Able (2009), Grizzly
Bear Ready, Able Official Music Video, Screenshot [Online]. Available at: https://www.
youtube.com/watch?v=Puph1hejMQE
Fig. 3: Schulnik, Allison: Yeti clown, Character, Ready, Able (2009), Grizzly Bear Ready,
Able Official Music Video, Screenshot [Online]. Available at: https://www.youtube.com/
watch?v=Puph1hejMQE
Fig. 4: Schulnik, Allison: Lizard, Character, Ready, Able (2009), Grizzly Bear Ready,
72
watch?v=Puph1hejMQE
Fig. 5: Schulnik, Allison: Living Green Seeds, Characters, Ready, Able (2009), Grizzly Bear
Ready, Able Official Music Video, Screenshot [Online]. Available at: https://www.youtube.
com/watch?v=Puph1hejMQE
Fig. 6: Schulnik, Allison: Skull Clown, Character, Ready, Able (2009), Grizzly Bear Ready,
watch?v=Puph1hejMQE
Fig. 7: Schulnik, Allison: Clown faces, Characters, Ready, Able (2009), Grizzly Bear Ready,
watch?v=Puph1hejMQE
Fig. 8: Schulnik, Allison: The Forest, Scenario, Ready, Able (2009), Grizzly Bear Ready,
watch?v=Puph1hejMQE
Fig. 9: Schulnik, Allison: The River, Scenario, Ready, Able (2009), Grizzly Bear Ready,
watch?v=Puph1hejMQE
Fig. 10: Schulnik, Allison: The Dark Space, Scenario, Ready, Able (2009), Grizzly Bear Ready,
watch?v=Puph1hejMQE
Fig. 11: Schulnik, Allison: The Lights Room, Scenario, Ready, Able (2009), Grizzly Bear Ready,
watch?v=Puph1hejMQE
Fig. 12: Schulnik, Allison: Step 1, Production, Ready, Able (2009), Grizzly Bear Ready,
watch?v=Puph1hejMQE
watch?v=Puph1hejMQE
watch?v=Puph1hejMQE
watch?v=Puph1hejMQE
watch?v=Puph1hejMQE
73
watch?v=Puph1hejMQE
Fig. 18: Schulnik, Allison: Spaceship, Postproduction, Ready, Able (2009), Grizzly Bear Ready,
watch?v=Puph1hejMQE
Graphic 5: James and the Giant Peach map
Fig. 1: Selick, Henry: James and the Giant Peach, Cover Art (1996), Carteles James y
el melocotón gigante [Online]. Available at: http://peliculas.film-cine.com/james_y_el_
melocoton_gigante-m5738
Fig. 2: Selick, Henry: Preproduction James and the Giant Peach (1996), James and the Giant
Peach- Behind the Scenes- Stop Motion Puppets, Making of, YouTube [Online]. Available at:
https://www.youtube.com/watch?v=RBt9ilToEP4
Fig. 3: Selick, Henry: Real James, James and the Giant Peach Character (1996), Ver Jim y el
durazno gigante online 1996, Movie Screenshots, Recpelis [Online]. Available at: http://www.
recpelis.com/pelicula/5513/jim-y-el-durazno-gigante.html
Fig. 4: Selick, Henry: Fantastic James, James and the Giant Peach Character (1996), Ver
Jim y el durazno gigante online 1996, Movie Screenshots, Recpelis [Online]. Available at:
http://www.recpelis.com/pelicula/5513/jim-y-el-durazno-gigante.html
Fig. 5: Selick, Henry: Mysterious Man, James and the Giant Peach Character (1996), Ver Jim
y el durazno gigante online 1996, Movie Screenshots, Recpelis [Online]. Available at: http://
Fig. 6: Selick, Henry: Firefly, James and the Giant Peach Character (1996), Ver Jim y el
Fig. 7: Selick, Henry: Evil Aunts, James and the Giant Peach Character (1996), Ver Jim y el
Fig. 8: Selick, Henry: Spider, James and the Giant Peach Character (1996), Ver Jim y el
Fig. 9: Selick, Henry: Centipede, James and the Giant Peach Character (1996), Ver Jim y el
Fig. 10: Selick, Henry: Ladybug, James and the Giant Peach Character (1996), Ver Jim y el
Fig. 11: Selick, Henry: Earthworm, James and the Giant Peach Character (1996), Ver Jim y
el durazno gigante online 1996, Movie Screenshots, Recpelis [Online]. Available at: http://
74
Fig. 12: Selick, Henry: Cricket, James and the Giant Peach Character (1996), Ver Jim y el
Fig. 13: Selick, Henry: The village, James and the Giant Peach Scenario (1996), Ver Jim y el
Fig. 14: Selick, Henry: The Sea, James and the Giant Peach Scenario (1996), Ver Jim y el
Fig. 15: Selick, Henry: The Frozen Sea, James and the Giant Peach Scenario (1996), Ver Jim
Fig. 16: Selick, Henry: Inside The Peach, James and the Giant Peach Scenario (1996), Ver
Jim y el durazno gigante online 1996, Movie Screenshots, Recpelis [Online]. Available at:
http://www.recpelis.com/pelicula/5513/jim-y-el-durazno-gigante.html
Fig. 17: Selick, Henry: James Dreams, James and the Giant Peach Scenario (1996), Ver Jim
Fig. 18: Selick, Henry: New York, James and the Giant Peach Scenario (1996), Ver Jim y el
Fig. 19: Selick, Henry: Centipede Screenshot, James and the Giant Peach (1996), James
and the Giant Peach- Behind the Scenes- Stop Motion Puppets, Making of, YouTube [Online].
Available at: https://www.youtube.com/watch?v=RBt9ilToEP4
Fig. 20: Selick, Henry: Animation Screenshot, James and the Giant Peach (1996), James
and the Giant Peach- Behind the Scenes- Stop Motion Puppets, Making of, YouTube [Online].
Available at: https://www.youtube.com/watch?v=RBt9ilToEP4
Fig. 21: Selick, Henry: James Transformation, James and the Giant Peach Postproduction
(1996), Ver Jim y el durazno gigante online 1996, Movie Screenshots, Recpelis [Online].
Available at: http://www.recpelis.com/pelicula/5513/jim-y-el-durazno-gigante.html
Fig. 22: Selick, Henry: James Transformed in to Figure, James and the Giant Peach
Postproduction (1996), Ver Jim y el durazno gigante online 1996, Movie Screenshots,
Recpelis [Online]. Available at: http://www.recpelis.com/pelicula/5513/jim-y-el-duraznogigante.html
Fig. 23: Selick, Henry: Characters on the Peach, James and the Giant Peach Postproduction
(1996), Ver Jim y el durazno gigante online 1996, Movie Screenshots, Recpelis [Online].
Available at: http://www.recpelis.com/pelicula/5513/jim-y-el-durazno-gigante.html
Fig. 24: Selick, Henry: Motion Graphics Worm James, James and the Giant Peach
Postproduction (1996), Ver Jim y el durazno gigante online 1996, Movie Screenshots,
Recpelis [Online]. Available at: http://www.recpelis.com/pelicula/5513/jim-y-el-duraznogigante.html
75
Graphic 6: Toy Story map
Fig. 1: Lasseter, John: Toy Story Cover (1995), 1995. Crea Pixar luego de ser despedido
de Apple [Online]. Available at: http://www.xbil.com/steve-jobs-ha-muerto-1955%E2%80%93-2011.html
Fig. 2: Lasseter, John: Woody and Buzz Sketches, Preproduction (1995), The Making of Toy
Story, Screenshots [Online]. Available at: https://www.youtube.com/watch?v=1VdERcRJ3jI
Fig. 3: Lasseter, John: Story board, Preproduction (1995), The Making of Toy Story,
Screenshots [Online]. Available at: https://www.youtube.com/watch?v=1VdERcRJ3jI
Fig. 4: Lasseter, John: Larger Story board, Preproduction (1995), The Making of Toy Story,
Fig. 5: Lasseter, John: Sculpting Process, Preproduction (1995), The Making of Toy Story,
Fig. 6: Lasseter, John: Woody, Toy Story Character (2010), Woody Cowboy [Online]. Available
at: http://cartoonpicexplorer.com/woody-cowboy-wallpaper/
Fig. 7: Lasseter, John: Buzz Lightyear, Toy Story Character (1995), Police seek Buzz Lightyear
lookalike after glassing [Online]. Available at: http://www.dailytelegraph.com.au/news/
weird/police-seek-buzz-lightyear-lookalike-after-glassing/story-e6frev20-1226051962070?nk
=4ea56133220b9799c22a5ee6f0bab7ba
Fig. 8: Lasseter, John: Mr. Potato Head, Toy Story Character (1995), Mr potato promational
art [Online]. Available at: http://imgarcade.com/1/mr-potato-head-toy-story-wallpaper/
Fig. 9: Lasseter, John: Slinky, Toy Story Character (2010), Conheça os principais personagens
de Toy Story 3 [Online]. Available at: http://entretenimento.r7.com/cinema/fotos/conhecaos-personagens-de-toy-story-3-20100615-4.html
Fig. 10: Lasseter, John: Ham, Toy Story Character (2010), Todos los personajes de Toy
Story, Jam[Online]. Available at: http://listas.20minutos.es/lista/todos-los-personajes-de-toystory-376325/
Fig. 11: Lasseter, John: Rex, Toy Story Character (2010), Papel de parede de Rex, Toy Story
[Online]. Available at: http://www.papeisdeparede.info/Wallpapers-Filmes/Papel-de-ParedeFilmes-Animacao/Fundos-Ecra-Toy-Story/wallpaper-rex-toystory.htm
Fig. 12: Lasseter, John: R.C, Toy Story Character (1995), Toy Story RC Free Wheel
Buggy [Online]. Available at: http://www.amazon.co.uk/Toy-Story-Free-Wheel-Buggy/dp/
B002C1BF5Y
Fig. 13: Lasseter, John: Bo Peep, Toy Story Character (1995), HD Wallpapers [Online].
Available at:
http://hdwallpapers4u.eu/toy_story_2_film_movies_hd-wallpaper-28215/
Fig. 14: Lasseter, John: Plastic Soldiers, Toy Story Character (1995), images2jeux [Online].
Available at: http://www.images2jeux.com/toy_story_3.php
Fig. 15: Lasseter, John: Pizza Planet Martians, Toy Story Character (1995), zapwallpaper
[Online]. Available at: http://www.zapwallpaper.fr/Galerie/Disney/1/IMG363.php
76
Fig. 16: Lasseter, John: Andy’s room, Toy Story Scenario (1995), Ver Toy Story 1995 online
[Online]. Available at: http://gnula.nu/animacion-infantil/ver-toy-story-1995-online/
Fig. 17: Lasseter, John: Sid Garden, Toy Story Scenario (1995), Ver Toy Story 1995 online
Fig. 18: Lasseter, John: Pizza Planet, Toy Story Scenario (1995), Ver Toy Story 1995 online
Fig. 19: Lasseter, John: The Town, Toy Story Scenario (1995), Ver Toy Story 1995 online
Fig. 20: Lasseter, John: On the Street, Toy Story Scenario (1995), Ver Toy Story 1995 online
Fig. 21: Lasseter, John: The Neighborhood, Toy Story Scenario (1995), Ver Toy Story 1995
online [Online]. Available at: http://gnula.nu/animacion-infantil/ver-toy-story-1995-online/
Fig. 22: Lasseter, John: woody Face Movements, Production (1995), The Making of Toy
Fig. 23: Lasseter, John: Animation process, Production (1995), The Making of Toy Story,
Fig. 24: Lasseter, John: Randy Newman Music, Postproduction (1995), The Making of Toy
Fig. 25: Lasseter, John: TS3 Movie Picture (2010), Toy Story Wallpapers, Toy Story 3
[Online]. Available at: http://hdw.eweb4.com/search/toy+story/
Graphic 7: Avatar map
Fig. 1: Cameron, James: Avatar Movie Cover (2009). Postere alternative Avatar [Online].
Available at: http://www.cinemarx.ro/filme/Avatar-Avatar-388118.html?postere-alternative
Fig. 2: Cameron, James: Jake Sully, Avatar Movie Preproduction (2009). Avatar Making Art
Part 1 flv, Screenshot [Online]. Available at: https://www.youtube.com/watch?v=bv2sj_y8qKg
Fig. 3: Cameron, James: Sculpting monsters, Avatar Movie Preproduction (2009). Avatar
Making Art Part 1 flv, Screenshot [Online]. Available at: https://www.youtube.com/
watch?v=bv2sj_y8qKg
Fig. 4: Cameron, James: Sculptures, Avatar Movie Preproduction (2009). Avatar Making Art
Fig. 5: Cameron, James: Building sets, Avatar Movie Preproduction (2009). Avatar Making
Art Part 1 flv, Screenshot [Online]. Available at: https://www.youtube.com/watch?v=bv2sj_
y8qKg
Fig. 6: Cameron, James: Digitalizing, Avatar Movie Preproduction (2009). Avatar Making Art
77
Fig. 7: Cameron, James: Jake Sully, Avatar Character (2009), Sam Worthington como Jake
Sully [Online]. Available at: http://www.aeromental.com/2009/12/22/los-personajes-deavatar-junto-a-los-actores-de-la-vida-real-que-los-representan/
Fig. 8: Cameron, James: Neytiri, Avatar Character (2009), Zoe Saldana como Neytiri [Online].
Available at: http://www.aeromental.com/2009/12/22/los-personajes-de-avatar-junto-alos-actores-de-la-vida-real-que-los-representan/
Fig. 9: Cameron, James: Eytukan, Avatar Character (2009), [Online]. Available at: http://
www.deshumanisation.com/continuite/toujours-en-cage/110-avatar-mythe-de-tarzanmoderne
Fig. 10: Cameron, James: Grace, Avatar Character (2009), Sigourney Weaver como Dr.
Grace Augustine [Online]. Available at: http://www.aeromental.com/2009/12/22/lospersonajes-de-avatar-junto-a-los-actores-de-la-vida-real-que-los-representan/
Fig. 11: Cameron, James: Tsu ‘tey, Avatar Character (2009), Laz Alonso como Tsu’tey
[Online]. Available at: http://www.aeromental.com/2009/12/22/los-personajes-de-avatarjunto-a-los-actores-de-la-vida-real-que-los-representan/
Fig. 12: Cameron, James: Moat, Avatar Character (2009), Dameono [Online]. Available at:
http://dameono.blog112.fc2.com/blog-entry-457.html
Fig. 13: Cameron, James: Corporal Lyle Wainfeet, Avatar Character (2009), Lyle Wainfleet
[Online]. Available at: http://de.james-camerons-avatar.wikia.com/wiki/Lyle_Wainfleet
Fig. 14: Cameron, James: Trudy Chacon, Avatar Character (2009), Dreamworlds [Online].
Available at: http://dreamworlds.ru/intersnosti/38882-geroi-avatara-trudi-chakon-trudychacon.html
Fig. 15: Cameron, James: Dr. Max Patel, Avatar Character (2009), Max Patel [Online].
Available at: http://james-camerons-avatar.wikia.com/wiki/Max_Patel
Fig. 16: Cameron, James: Norm Spellman, Avatar Character (2009), Character jake sully
[Online]. Available at: http://imgarcade.com/1/norm-spellman-avatar/
Fig. 17: Cameron, James: Parker Selfridge, Avatar Character (2009), Northern
Oasis Toutaine, The Veil [Online]. Available at: http://bbs.stardestroyer.net/viewtopic.
php?p=3410764
Fig. 18: Cameron, James: Colonel. Miles Quatrich, Avatar Character (2009), Avatar,
Colonel Miles Quaritch [Online]. Available at: http://www.monologuedb.com/dramatic-malemonologues/avatar-colonel-miles-quaritch/
Fig. 19: Cameron, James: Floating Mountains, Avatar Movie Scenario (2009). Avatar HD
2009, Movie Screenshot, Pelis24 [Online]. Available at: http://pelis24.com/peliculalatino/729-avatar-2009.html
Fig. 20: Cameron, James: The Jungle, Avatar Movie Scenario (2009). Avatar HD 2009,
Movie Screenshot, Pelis24 [Online]. Available at: http://pelis24.com/pelicula-latino/729avatar-2009.html
78
Fig. 21: Cameron, James: Pandora View, Avatar Movie Scenario (2009). Avatar HD 2009,
Fig. 22: Cameron, James: Headquarters, Avatar Movie Scenario (2009). Avatar HD 2009,
Fig. 23: Cameron, James: Pandora, Avatar Movie Scenario (2009). Avatar HD 2009,
Fig. 24: Cameron, James: The Glowing Jungle, Avatar Movie Scenario (2009). Avatar
HD 2009, Movie Screenshot, Pelis24 [Online]. Available at: http://pelis24.com/peliculalatino/729-avatar-2009.html
Fig. 25: Cameron, James: The Laboratory, Avatar Movie Scenario (2009). Avatar HD 2009,
Fig. 26: Cameron, James: Spaceship, Avatar Movie Scenario (2009). Avatar HD 2009,
Fig. 27: Cameron, James: Zoe Saldana Production, Avatar Movie (2009). Avatar Making Of
Part-1 Creating The World Of Pandora HD, Screenshot [Online]. Available at: https://www.
Fig. 28: Cameron, James: Production Set, Avatar Movie (2009). Avatar Making Of Part-1
Creating The World Of Pandora HD, Screenshot [Online]. Available at: https://www.youtube.
com/watch?v=oCDh5SdxAdo
Fig. 29: Cameron, James: Avatar Jake Sully Grid, Avatar Movie (2009). Avatar Making Of
Fig. 30: Cameron, James: Avatar Jake Sully, Avatar Movie (2009). Avatar Making Of Part-1
Creating The World Of Pandora HD, Screenshot [Online]. Available at: https://www.youtube.
com/watch?v=oCDh5SdxAdo
Fig. 31: Cameron, James: Digital Postproduction Color, Avatar Movie (2009). Avatar Making
Of Part-1 Creating The World Of Pandora HD, Screenshot [Online]. Available at: https://www.
Fig. 32: Cameron, James: Postproduction rendering, Avatar Movie (2009). Avatar Making Of
79
Graphic 8: The LEGO Movie map
Fig. 1: Lord, P & C. Miller: The Lego Movie Cover (2014), torrentoa [Online]. Available at:
http://torrentoa.com/bbs/board.php?bo_table=tr_fmovie&wr_id=787220
Fig. 2: Lord, P & C. Miller: Digital Preproduction (2014), THE LEGO MOVIE YAPIM AŞAMASI
[Online]. Available at: http://www.animasyongastesi.com/tag/animation/
Fig. 3: Lord, P & C. Miller: Wild West Mountains, Preproduction (2014), How they made
The Lego Movie, 30 Minute Video About the Making of LEGO Movie by VFX Studio [Online].
Available at: https://www.youtube.com/watch?v=grgBeu-elBg
Fig. 4: Lord, P & C. Miller: The Water Animation, Preproduction (2014), How they made
Fig. 5: Lord, P & C. Miller: Pirate Ship Animation, Preproduction (2014), How they made
Fig. 6: Lord, P & C. Miller: Lego City real model (2014), FinnsBasement TheLegoMovie City.
jpg [Online]. Available at: http://lego.wikia.com/wiki/File:FinnsBasement_TheLegoMovie_City.
jpg
Fig. 7: Lord, P & C. Miller: Emmet, Lego Character (2014), LEGO [Online]. Available at:
http://www.lego.com/en-us/movie/explore/characters
Fig. 8: Lord, P & C. Miller: Wyldstyle, Lego Character (2014), LEGO [Online]. Available at:
Fig. 9: Lord, P & C. Miller: Vitruvius, Lego Character (2014), LEGO [Online]. Available at:
Fig. 10: Lord, P & C. Miller: Metalbeard, Lego Character (2014), LEGO [Online]. Available at:
Fig. 11: Lord, P & C. Miller: Lord Business, Lego Character (2014), LEGO [Online]. Available
at: http://www.lego.com/en-us/movie/explore/characters
Fig. 12: Lord, P & C. Miller: Batman, Lego Character (2014), LEGO [Online]. Available at:
Fig. 13: Lord, P & C. Miller: Benny, Lego Character (2014), LEGO [Online]. Available at:
Fig. 14: Lord, P & C. Miller: Good cop/Bad cop, Lego Character (2014), LEGO [Online].
Available at: http://www.lego.com/en-us/movie/explore/characters
Fig. 15: Lord, P & C. Miller: Unkitti, Lego Character (2014), LEGO [Online]. Available at:
Fig. 16: Lord, P & C. Miller: Cloud Cuckoo Land, Lego Scenario (2014), LEGO, Worlds, CLOUD
CUCKOO LAND [Online]. Available at: http://www.lego.com/en-us/movie/explore/worlds
80
Fig. 17: Lord, P & C. Miller: Bricksburg, Lego Scenario (2014), LEGO, Worlds, BRICKSBURG
[Online]. Available at: http://www.lego.com/en-us/movie/explore/worlds
Fig. 18: Lord, P & C. Miller: The Ocean, Lego Scenario (2014), LEGO, Worlds, THE OCEAN
Fig. 19: Lord, P & C. Miller: Bricksburg 2, Lego Scenario (2014), LEGO, Worlds,
BRICKSBURG [Online]. Available at: http://www.lego.com/en-us/movie/explore/worlds
Fig. 20: Lord, P & C. Miller: The Ocean 3, Lego Scenario (2014), LEGO, Worlds, THE OCEAN
Fig. 21: Lord, P & C. Miller: Wild West, Lego Scenario (2014), LEGO, Worlds, WILD WEST
Fig. 22: Lord, P & C. Miller: Production, Emmet Animation (2014), Making of The Lego Movie
[Online]. Available at: http://www.cgmeetup.net/home/making-of-the-lego-movie/
Fig. 23: Lord, P & C. Miller: Wyldstyle moves (2014), Making of The Lego Movie [Online].
Available at: http://www.cgmeetup.net/home/making-of-the-lego-movie/
Fig. 24: Lord, P & C. Miller: Metalbeard on the screen (2014), Making of The Lego Movie
[Online]. Available at: http://www.cgmeetup.net/home/making-of-the-lego-movie/
Fig. 25: Lord, P & C. Miller: Emmet at home, Postproduction (2014), How they made
Fig. 26: Lord, P & C. Miller: Movie scene (2014), Cinemacity, Images [Online]. Available at:
http://cinemacity.mymovies.ge/en/movie/137106/The+Lego+Movie-2014
Graphic 10: Jurassik Park map
Fig. 1: Spielberg, Steven: Jurassic Park, Movie Cover (1993), Jurassic-Park-cover-locandina-2
[Online]. Available at: http://speed-cover.org/jurassic-park-1993-b/jurassic-park-coverlocandina-2/
Fig. 2: Spielberg, Steven: Story board, Jurassic Park Preproduction (1993), Making Of
Jurassic Park [Online]. Available at: https://www.youtube.com/watch?v=TUVAirMVru0
Fig. 3: Spielberg, Steven: Velociraptor mold, Jurassic Park Preproduction (1993), Making Of
Fig. 4: Spielberg, Steven: Prototypes, Jurassic Park Preproduction (1993), Making Of
Fig. 5: Spielberg, Steven: Animatic, Jurassic Park Preproduction (1993), Making Of Jurassic
Park [Online]. Available at: https://www.youtube.com/watch?v=TUVAirMVru0
Fig. 6: Spielberg, Steven: Tyrannosaurus Rex, Jurassic Park Character (1993), Om Nom Nom
T. Rex Was, Indeed, A Voracious Hunter [Online]. Available at: http://kuow.org/post/omnom-nom-t-rex-was-indeed-voracious-hunter
81
Fig. 7: Spielberg, Steven: Triceratops, Jurassic Park Character (1993), ¿Qué sonidos hacían
los dinosaurios? Quizás nunca lo sepamos [Online]. Available at: http://www.ohmygeek.
net/2015/01/02/sonidos-dinosaurios-misterio/
Fig. 8: Spielberg, Steven: Velociraptor, Jurassic Park Character (1993), Top ten villains never
to make a top villains list [Online]. Available at: http://screenrobot.com/top-ten-villains-nevermake-top-villains-list/4/
Fig. 9: Spielberg, Steven: Gallimimus, Jurassic Park Character (1993), Gallimimus [Online].
Available at: http://jurassicpark.wikia.com/wiki/Gallimimus?file=Gallimimus.JPG
Fig. 10: Spielberg, Steven: Dilophosaurus, Jurassic Park Character (1993), Dilophosaurus
[Online]. Available at: http://jurassicpark.wikia.com/wiki/Dilophosaurus
Fig. 11: Spielberg, Steven: Branchiosaurus, Jurassic Park Character (1993), Branchiosaurus
[Online]. Available at: http://jurassicpark.wikia.com/wiki/Brachiosaurus?file=003.png
Fig. 12: Spielberg, Steven: Dr. Alan Grant, Jurassic Park Character (1993), Sam Neill
as Dr. Alan Grant in Jurassic Park [Online]. Available at: http://cinema.theiapolis.com/
movie-0379/jurassic-park/gallery/sam-neill-as-dr-alan-grant-in-jurassic-park-1077125.html
Fig. 13: Spielberg, Steven: Dr. Ellie Sattler, Jurassic Park Character (1993), Cinerd [Online].
Available at: http://cinerd.blogspot.ch/2011/10/cinews-nuevo-trailer-de-haywire-laura.html
Fig. 14: Spielberg, Steven: Tim Murphy, Jurassic Park Character (1993), Jurassic World
Jurassic Park 4 [Online]. Available at: http://www.nosolohd.com/xf/threads/jurassic-worldjurassic-park-4-2015.1999/page-15
Fig. 15: Spielberg, Steven: Dr. Ian Malcolm, Jurassic Park Character (1993), Jeff Goldblum
as Dr. Ian Malcolm in Jurassic Park [Online]. Available at: http://cinema.theiapolis.com/
movie-0379/jurassic-park/gallery/jeff-goldblum-as-dr-ian-malcolm-in-jurassic-1094712.html
Fig. 16: Spielberg, Steven: John Hammond, Jurassic Park Character (1993), Hollywood
llora la muerte de Richard Attenborough [Online]. Available at: http://www.diariovigilante.
com/entretenimiento/cine/cine/steven-spielberg/entretenimiento/-richard-attenborough/
gandhi/ben-kingsley/parque-jurasico/7379
Fig. 17: Spielberg, Steven: Lex Murphy, Jurassic Park Character (1993), Lex Murphy [Online].
Available at: http://es.jurassicpark.wikia.com/wiki/Lex_Murphy
Fig. 18: Spielberg, Steven: Robert Muldoon, Jurassic Park Character (1993), Bob Peck
pictures and photos [Online]. Available at: http://www.listal.com/bob-peck/pictures
Fig. 19: Spielberg, Steven: Donald Gennaro, Jurassic Park Character (1993), archive
9news [Online]. Available at: http://archive.9news.com/images/640/360/2/assetpool/
images/130406025950_jurassic-park-4_3_r536_c534.jpg
Fig. 20: Spielberg, Steven: Ray Arnold, Jurassic Park Character (1993), Images from
Jurassic Park blu-ray screencaps, Photo 13 of 24 [Online]. Available at: http://www.
examiner.com/slideshow/jurassic-park-2#slide=3
Fig. 21: Spielberg, Steven: Dr. Henry Wu, Jurassic Park Character (1993), B.D. Wong
82
[Online]. Available at: http://www.hark.com/collections/rlsnlftrvv-bd-wong
Fig. 22: Spielberg, Steven: Dennis Nedry, Jurassic Park Character (1993), This One Scene
COULD Explain Why We’re Even Getting a Jurassic World Movie [Online]. Available at: http://
moviepilot.com/posts/2015/01/03/this-one-scene-could-explain-why-we-re-even-getting-ajurassic-world-movie-2557022?lt_source=external,manual
Fig. 23: Spielberg, Steven: The Island, Jurassic Park Scene (1993), wikia nocookie,
Screenshot [Online]. Available at: http://img4.wikia.nocookie.net/__cb20141015011537/
jurassicpark/images/c/ce/JP-MoviePoster.jpg
Fig. 24: Spielberg, Steven: Near the Sea, Jurassic Park Scene (1993), wikia nocookie,
Fig. 25: Spielberg, Steven: In to the Park, Jurassic Park Scene (1993), wikia nocookie,
Fig. 26: Spielberg, Steven: In to the Labs, Jurassic Park Scene (1993), wikia nocookie,
Fig. 27: Spielberg, Steven: The Main Room, Jurassic Park Scene (1993), wikia nocookie,
Fig. 28: Spielberg, Steven: Scene of T-Rex in the Rain, Jurassic Park Production
(1993), Making Of Jurassic Park [Online]. Available at: https://www.youtube.com/
watch?v=TUVAirMVru0
Fig. 29: Spielberg, Steven: Digital Effects, Jurassic Park Production (1993), Making Of
Fig. 30: Spielberg, Steven: T-Rex Size, Jurassic Park Production (1993), Making Of Jurassic
Park [Online]. Available at: https://www.youtube.com/watch?v=TUVAirMVru0
Fig. 31: Spielberg, Steven: Digital Gallimimus, Jurassic Park Production (1993), Making Of
Fig. 32: Spielberg, Steven: Digital Post Production, Jurassic Park Postproduction
(1993), Making Of Jurassic Park [Online]. Available at: https://www.youtube.com/
watch?v=TUVAirMVru0
Fig. 33: Spielberg, Steven: T-Rex Movie Scene, Jurassic Park Postproduction (1993), Making
Of Jurassic Park [Online]. Available at: https://www.youtube.com/watch?v=TUVAirMVru0
83
Graphic 11: The Bear and the Hare map
Fig. 1: Adam&Eve DDB: Cover Picture, The Bear & The Hare (2013), John Lewis Christmas
Advert 2013 - The Bear & The Hare, Screenshot [Online]. Available at: https://www.youtube.
com/watch?v=XqWig2WARb0
Fig. 2: Adam&Eve DDB: Sketch Fox, The Bear & The Hare Preproduction (2013), Advertising
Great making of video for the new John Lewis Bear and Hare spot, Screenshot [Online].
Available at: http://www.itsnicethat.com/articles/making-of-bear-and-hare
Fig. 3: Adam&Eve DDB: Storyboard, The Bear & The Hare Preproduction (2013), Advertising
Fig. 4: Adam&Eve DDB: Building the Presents, The Bear & The Hare Preproduction (2013),
Advertising Great making of video for the new John Lewis Bear and Hare spot, Screenshot
[Online]. Available at: http://www.itsnicethat.com/articles/making-of-bear-and-hare
Fig. 5: Adam&Eve DDB: The Cave Process, The Bear & The Hare Preproduction (2013),
Fig. 6: Adam&Eve DDB: Handmade Presents, The Bear & The Hare Preproduction (2013),
Fig. 7: Adam&Eve DDB: The Bear, The Bear & The Hare Character (2013), John Lewis
Christmas Advert 2013 - The Bear & The Hare, Screenshot [Online]. Available at: https://
www.youtube.com/watch?v=XqWig2WARb0
Fig. 8: Adam&Eve DDB: The Hare, The Bear & The Hare Character (2013), John Lewis
Fig. 9: Adam&Eve DDB: Animals From the Forest Fox, The Bear & The Hare Character
(2013), John Lewis Christmas Advert 2013 - The Bear & The Hare, Screenshot [Online].
Available at: https://www.youtube.com/watch?v=XqWig2WARb0
Fig. 10: Adam&Eve DDB: Animals From the Forest Badger, The Bear & The Hare Character
Fig. 11: Adam&Eve DDB: Animals From the Forest Birds, The Bear & The Hare Character
Fig. 12: Adam&Eve DDB: Animals From the Forest Owl, The Bear & The Hare Character
Fig. 13: Adam&Eve DDB: The Forest, The Bear & The Hare Scenario (2013), John Lewis
84
Fig. 14: Adam&Eve DDB: The Cave, The Bear & The Hare Scenario (2013), John Lewis
Fig. 15: Adam&Eve DDB: The Land, The Bear & The Hare Scenario (2013), John Lewis
Fig. 16: Adam&Eve DDB: Winter Look, The Bear & The Hare Scenario (2013), John Lewis
Fig. 17: Adam&Eve DDB: The Christmas Tree, The Bear & The Hare Scenario (2013), John
Lewis Christmas Advert 2013 - The Bear & The Hare, Screenshot [Online]. Available at:
https://www.youtube.com/watch?v=XqWig2WARb0
Fig. 18: Adam&Eve DDB: Frozen River, The Bear & The Hare Scenario (2013), John Lewis
Fig. 19: Adam&Eve DDB: Production The Bear & The Hare Making of Still (2013), Blinkink/
Adam&EveDDB: The Bear & The Hare making of still [Online]. Available at: http://www.
itsnicethat.com/articles/making-of-bear-and-hare
Fig. 20: Adam&Eve DDB: Production Frozen River, The Bear & The Hare Production (2013),
Fig. 21: Adam&Eve DDB: Production the Forest, The Bear & The Hare Production (2013),
Fig. 22: Adam&Eve DDB: Production Winter Look, The Bear & The Hare Production (2013),
Fig. 23: Adam&Eve DDB: Production Scene, The Bear & The Hare Production (2013),
Fig. 24: Adam&Eve DDB: Postproduction on the Screen, The Bear & The Hare
Postproduction (2013), Advertising Great making of video for the new John Lewis Bear and
Hare spot, Screenshot [Online]. Available at: http://www.itsnicethat.com/articles/making-ofbear-and-hare
Fig. 25: Adam&Eve DDB: Final Scene, The Bear & The Hare Production (2013), Advertising
Fig. 26: Adam&Eve DDB: The Product, The Bear & The Hare Production (2013), Advertising
85
Graphic 12: The BoxTrolls map
Fig. 1: Stacchi, A & G, Annable: The Boxtrolls Movie Cover (2014), The Boxtrolls Teaser Poster [Online]. Available
at: http://www.bcdb.com/cartoon/109810-Boxtrolls
Fig. 2: Stacchi, A & G, Annable: Storyboard and Modeling, The Boxtrolls (2014), The Boxtrolls Making a Stop
Motion Short , Screenshot [Online]. Available at: http://www.itsartmag.com/features/making-of-the-boxtrolls/
Fig. 3: Stacchi, A & G, Annable: Modeling Fish, The Boxtrolls (2014), The Boxtrolls Making a Stop Motion Short ,
Screenshot [Online]. Available at: http://www.itsartmag.com/features/making-of-the-boxtrolls/
Fig. 4: Stacchi, A & G, Annable: Miniature Trumpet, The Boxtrolls (2014), The Boxtrolls Making a Stop Motion
Short , Screenshot [Online]. Available at: http://www.itsartmag.com/features/making-of-the-boxtrolls/
Fig. 5: Stacchi, A & G, Annable: Making the Clothes, The Boxtrolls (2014), The Boxtrolls Making a Stop Motion
Short , Screenshot [Online]. Available at: http://www.itsartmag.com/features/making-of-the-boxtrolls/
Fig. 6: Stacchi, A & G, Annable: Miniature Food, The Boxtrolls (2014), The Boxtrolls Making a Stop Motion Short
, Screenshot [Online]. Available at: http://www.itsartmag.com/features/making-of-the-boxtrolls/
Fig. 7: Stacchi, A & G, Annable: Eggs, The Boxtrolls Character (2014), Boxtrolls Characters Eggs [Online].
Available at: http://imgarcade.com/1/boxtrolls-characters-eggs/ 450&r=x404&c=534x401/local/-/media/
NWGroup/KING/2014/09/17/1410996115000-eggs.JPG
Fig. 8: Stacchi, A & G, Annable: Winnie, The Boxtrolls Character (2014), Winnie in formal wear [Online].
Available at: http://hero.wikia.com/wiki/File:Winnie_in_formal_wear.png
Fig. 9: Stacchi, A & G, Annable: Archibald Snatcher , The Boxtrolls Character (2014), Pelis24, Los Boxtrolls HD
2014, Screenshot [Online]. Available at: http://pelis24.com/pelicula-latino/16827-los-boxtrolls-2014-online.
html
Fig. 10: Stacchi, A & G, Annable: Madame Fru Fru , The Boxtrolls Character (2014), Pelis24, Los Boxtrolls HD
2014, Screenshot [Online]. Available at: http://pelis24.com/pelicula-latino/16827-los-boxtrolls-2014-online.
html
Fig. 11: Stacchi, A & G, Annable: Fish, The Boxtrolls Character (2014), The Boxtrolls, Fish, Pinterest [Online].
Available at: https://www.pinterest.com/pin/321725967105147986/
Fig. 12: Stacchi, A & G, Annable: Shoe, The Boxtrolls Character (2014), The Boxtrolls, Cast of Characters, Shoe,
[Online]. Available at: http://lib.oup.com.au/blog/The-Boxtrolls-Activity-Book-sample.pdf
Fig. 13: Stacchi, A & G, Annable: Sparky, The Boxtrolls Character (2014), Los Boxtrolls [Online]. Available at:
http://www.cineenlinea.net/especiales/Boxtrolls%20datos%20curiosos.php
Fig. 14: Stacchi, A & G, Annable: Knickers, The Boxtrolls Character (2014), Numbercrunching The Box Trolls
[Online]. Available at: http://www.bleedingcool.com/2014/09/02/numbercrunching-the-box-trolls/
Fig. 15: Stacchi, A & G, Annable: Lord Portley Rind, The Boxtrolls Character (2014), New Releases The Boxtrolls
[Online]. Available at: http://porcupinesundae.com/new-releases-boxtrolls/
Fig. 16: Stacchi, A & G, Annable: Mr. Gristle, The Boxtrolls Character (2014), Pelis24, Los Boxtrolls HD 2014,
Screenshot [Online]. Available at: http://pelis24.com/pelicula-latino/16827-los-boxtrolls-2014-online.html
86
Fig. 17: Stacchi, A & G, Annable: Mr. Trout, The Boxtrolls Character (2014), Pelis24,
Los Boxtrolls HD 2014, Screenshot [Online]. Available at: http://pelis24.com/peliculalatino/16827-los-boxtrolls-2014-online.html
Fig. 18: Stacchi, A & G, Annable: Mr. Pickles, The Boxtrolls Character (2014), Pelis24,
Fig. 19: Stacchi, A & G, Annable: In the Caves, The Boxtrolls Scenario (2014), Pelis24,
Fig. 20: Stacchi, A & G, Annable: Central Cave, The Boxtrolls Scenario (2014), Pelis24,
Fig. 21: Stacchi, A & G, Annable: Cheesebridge, The Boxtrolls Scenario (2014), Pelis24,
Fig. 22: Stacchi, A & G, Annable: The Streets, The Boxtrolls Scenario (2014), Pelis24,
Fig. 23: Stacchi, A & G, Annable: Robot Digital Prototype (2014), Creating the Nature in
Boxtrolls , Screenshot [Online]. Available at: http://www.dailymotion.com/video/x25a1gp_
creating-the-nature-in-boxtrolls_shortfilms?from_related=related.page.ext.gravity-only.
ff8c46c6b8f9145fe247fb26e214f8a9142230833
Fig. 24: Stacchi, A & G, Annable: Inside the Caves, Production (2014), Creating the Nature
in Boxtrolls , Screenshot [Online]. Available at: http://www.dailymotion.com/video/
x25a1gp_creating-the-nature-in-boxtrolls_shortfilms?from_related=related.page.ext.gravityonly.ff8c46c6b8f9145fe247fb26e214f8a9142230833
Fig. 25:Stacchi, A & G, Annable: Animation Process, Production (2014), Creating the
Nature in Boxtrolls , Screenshot [Online]. Available at: http://www.dailymotion.com/video/
Fig. 26: Stacchi, A & G, Annable: Special Effects Fire Scene, Postproduction (2014), Creating
the Nature in Boxtrolls , Screenshot [Online]. Available at: http://www.dailymotion.com/
video/x25a1gp_creating-the-nature-in-boxtrolls_shortfilms?from_related=related.page.ext.
gravity-only.ff8c46c6b8f9145fe247fb26e214f8a9142230833
Fig. 27:Stacchi, A & G, Annable: Digital Smoke, Postproduction (2014), Creating the
Nature in Boxtrolls , Screenshot [Online]. Available at: http://www.dailymotion.com/video/
Fig. 28: Stacchi, A & G, Annable: Digital Fire, Postproduction (2014), Creating the Nature
in Boxtrolls , Screenshot [Online]. Available at: http://www.dailymotion.com/video/
87

3D Animation - Master of Arts in Design

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