Historical experimental
When it comes to experimental animation, I'd like to start with Spider-man: Into the Spiderverse (Ramsey, 2018).
A lot of time was taken to even come up with the art style for the movie and even when they were done, it took longer still to find out how to experiment with it more. They used many different techniques when animating the movie.
This included things like still images designed to look like a comic book which can last for a few frames, sound effects that jump out as actual words to emphasise the action, combining 2D and 3D, a colour-bleeding depth of field effect made by offsetting the red and blue values of different objects in the foreground and background (much like with older 3D films), and different framerates for different characters and for different scenes which, once you get used to it, looks really good and helps to sell the mood or atmosphere and it also gives it an almost stop-motion-esque look much like the movies Clash of the Titans (Davis, 1981) and The 7th Voyage of Sinbad (Juran, 1958) which were experimental giants of their own.
"Stop-motion animation is a kind of alchemy. With little more than metal, latex and cotton wool, Harryhausen shaped the terrifying sword-wielding skeletons of Jason and the Argonauts, the monstrous sea-dwelling Kraken of Clash of the Titans and the horned, cloven-hoofed Cyclops from The 7th Voyage of Sinbad." (Horatia Harrod, 08 May 2010)
I loved those 2 movies growing up, before I even knew what animation was and wondered where they found those animals and why they moved so weirdly. Thankfully I'm older now and can appreciate that they were separately filmed models with deifferent framerates to the rest of the film but the way they moved always intrigued me and just always stood out to me.
Another thing to bring up would be when the anime series, Berserk and the studio's decision to continue the series using 3D animation instead of the more traditional 2D. When this 3D season came out, fans were appalled because it not only was very different to the original series but it also wasn't done well at all and the choice of shots were terrible. It seems that the studio hadn't learned that just because you can, doesn't mean you should which led to a lot of fans hating that the camera moved in almost every shot even when it was unnecessary or to the detriment of the scene. However, the next season was still in 3D but the animation was a lot smoother than the first. As you can see, there are very big risks to experimenting but sometimes it can pay off as fans are now coming back to watch Berserk.
History has shown that animation can be experimented with in a variety of ways, whether it be in the form of art style or technical choices. It's why I usually animate at 15 FPS and as I've done previously, will sometimes animate a scene in 3D on Maya and then draw over it in Adobe animate (similarly to what Spiderverse did).
A lot of time was taken to even come up with the art style for the movie and even when they were done, it took longer still to find out how to experiment with it more. They used many different techniques when animating the movie.
04:18
This included things like still images designed to look like a comic book which can last for a few frames, sound effects that jump out as actual words to emphasise the action, combining 2D and 3D, a colour-bleeding depth of field effect made by offsetting the red and blue values of different objects in the foreground and background (much like with older 3D films), and different framerates for different characters and for different scenes which, once you get used to it, looks really good and helps to sell the mood or atmosphere and it also gives it an almost stop-motion-esque look much like the movies Clash of the Titans (Davis, 1981) and The 7th Voyage of Sinbad (Juran, 1958) which were experimental giants of their own.
"Stop-motion animation is a kind of alchemy. With little more than metal, latex and cotton wool, Harryhausen shaped the terrifying sword-wielding skeletons of Jason and the Argonauts, the monstrous sea-dwelling Kraken of Clash of the Titans and the horned, cloven-hoofed Cyclops from The 7th Voyage of Sinbad." (Horatia Harrod, 08 May 2010)
I loved those 2 movies growing up, before I even knew what animation was and wondered where they found those animals and why they moved so weirdly. Thankfully I'm older now and can appreciate that they were separately filmed models with deifferent framerates to the rest of the film but the way they moved always intrigued me and just always stood out to me.
Another thing to bring up would be when the anime series, Berserk and the studio's decision to continue the series using 3D animation instead of the more traditional 2D. When this 3D season came out, fans were appalled because it not only was very different to the original series but it also wasn't done well at all and the choice of shots were terrible. It seems that the studio hadn't learned that just because you can, doesn't mean you should which led to a lot of fans hating that the camera moved in almost every shot even when it was unnecessary or to the detriment of the scene. However, the next season was still in 3D but the animation was a lot smoother than the first. As you can see, there are very big risks to experimenting but sometimes it can pay off as fans are now coming back to watch Berserk.
History has shown that animation can be experimented with in a variety of ways, whether it be in the form of art style or technical choices. It's why I usually animate at 15 FPS and as I've done previously, will sometimes animate a scene in 3D on Maya and then draw over it in Adobe animate (similarly to what Spiderverse did).
Comments
Post a Comment