Category: Design for Animation, Narrative Structures and Film Language
I started this assignment by deciding what topic interested me the most, I found that the concept of discussing future technologies was an intriguing one, in addition to the uncanny valley effect.
I started my thesis by writing notes, to understand specifically what my title would become.
I created a visual/audio presentation using Powerpoint, to elaborate on some of the technologies discussed in my report, in relation to the uncanny valley in VR and AR.
Opportunities that emergent technologies present to the Visual Effects Industry;
The first, and perhaps most notable influence of emergent technologies is augmented reality (AR). Seemingly under the radar, due to a similar interface and design to virtual reality (VR), AR is predicted to have a significant impact on the future of Visual Effects and Animation.
Augmented reality would help to propel the use of visual effects even more so into the everyday market, enhancing the way enterprises would educate, sell and market goods, as an example. 3D tracking is not new technology to the world of VFX, but with the investment into AR it would enable a quicker and more efficient workflow, but more notably would create an avenue for everyday life to interact with visual effects.
A disadvantage would be that a very substantial budget would be needed to actualise this.
https://www.raconteur.net/sponsored/future-of-augmented-reality-and-real-time-visual-effects/
This week we looked at ‘Genre‘, how it is implemented in film and shown using VFX. I will be comparing two films of the same genre, from two different decades and produced in different continents.
Specifically I will be comparing Labyrinth (1986) produced in England and Enchanted (2007) shot and created in America. Both films seem very different at first glance, yet they adhere to the same niche genre: Fantasy Musical.
Both productions follow a ‘hero’s journey’ in which the protagonist undertakes a journey or mission where they learn valuable lessons. This genre is considered a form of ‘speculative fiction’ alongside science fiction and horror films, although the genres do overlap.
To achieve a fantasy film, it must contain fantastic themes, usually magic, supernatural events, mythology, folklore, or exotic ‘make-belief’ worlds. In Labyrinth the other world is that where the goblins reside, and in Enchanted it is the cartoon world where the protagonist comes from.
The idea of consistency is important when analysing genre, with a musical fantasy it must have recognisable supernatural elements throughout the film, in particular characters or creatures that are abnormal. The 1986 Labyrinth uses very obvious elements of fantasy, with goblin-creatures, otherworldly animals, and talking inanimate objects. Whereas in Enchanted, the fantasy characters are portrayed as 2D cartoons, and talking animals, a much more subtle approach where the fantasy elements are merged with the ‘real life’ footage. Yet, both films consistently keep to the fantasy theme throughout.
The visual effects help to dictate the genre, in Labyrinth the characters are puppets, that had been hand made for the set. The character Hoggle was played by Shari Weiser who had to physically climb inside the costume, allowing him to walk and move. To ensure a believable look, 4 more people were enlisted in helping this character by handling the mouth and speaking, using off-screen remote controls to move the animatronic face.
The Visual Effects used for this film were all physical, using props lighting to create the fantasy effect, yet still be realistic in look. It was elements like this that ensure the audience knew it was a fantasy film throughout.
Similarly, in Enchanted the visual effects help to dictate the genre. Fantasy relies on the use of believable visual aesthetics. Created in 2007, the ability to create digital effects was much more available, with animators and artists using new and impressive software for the time. The side-kick was a talking chipmunk, made using 3d CG animated models, composited into live-footage. The fur, texture and animation created a realistic look to this un-realistic concept.
This film also relied on 2D cartoon cinematography to portray the original world in which Giselle (the protagonist) came from. These visuals, alongside the portal from the fake world to real were implemented very successfully, with characters coming to-and-from throughout the whole film.
Imperative to a fantasy genre film is the believability of the fantastical elements, both films provide this successfully using advanced technology for their times. They are both creator and audience-led, with the producers intending to create fantastical films, and the audience being able to actively recognise them within the films. Despite being vastly different both films adhere to the generic fantasy-musical themes.
https://screenrant.com/labyrinth-movie-behind-scenes-secrets-trivia/
https://www.moviefone.com/2017/11/20/enchanted-amy-adams-disney-trivia/
The Mise-en-scene of a clip refers to the visual information put into a scene or frame, communicating to the audience vital information about the scenario. It consists of 5 elements: Settings & Props, Costume, Hair & Makeup, Facial Expressions & Body Language, Lighting & Colour and Positioning of Objects in the Frame.
I will be analysing the Mise-en-scene of this short clip from the animated movie Fantastic Mr. Fox.
Setting & Props:
Firstly, the setting is clear in this scene; the characters are in a lab. The props drive this narrative, creating a busy and full shot allowing the audience to recognise that scientific experiments are taking place, without the need of any context of the plot.
A notable use of the props in the story-telling is the goggles, the main character wears his correctly over his eyes whilst his partner places them on her head. This is used to indicate that her thoughts are elsewhere, and not on the experiment, which is proven through the dialogue.
The use of props to enforce the narrative is very evident, it easily implies the characters thoughts and feelings through their interaction with them.
Costume, Hair & Makeup:
Hair & makeup would refer to the aesthetic and appearance of our characters, as it is an animated piece. The costumes help emphasise the setting, with the goggles and lab coats on certain characters. The clothing also emphasises the fact that they are school children, wearing appropriate attire for teenagers. Indicating what we already know; that they are in a chemistry class.
Facial Expressions & Body Language:
The body language used in this clip helps the audience to understand the relationships between the characters. The female fox is positioned away from her partner, indicating disinterest. Whilst he is subtly bent over his work, emphasising his dedication to it.
An example of facial expressions aiding the narrative is when two of the characters engage in a flirtatious conversation, her partner can be seen in the background rolling his eyes, adding to the feeling of impatience.
The positioning decisions of the animators show a great attention to detail, aiding the dialogue and allowing the audience to subconsciously pick up on the feelings and thoughts of the characters and their relationships.
Lighting & Colour:
This whole shot has a very warm colour grade to it, it allows the viewer to subconsciously understand that the characters are underground, and therefore without natural daylight. There is an additional spotlight glow on the characters in the centre of the shot, this light highlights the important parts of the composition to the audience. It also adds shadow and depth on their features, overall creating a more pleasing aesthetic as they talk.
Positioning of Objects/Characters in the Frame:
The shot would also be considered ‘medium’ as we can see from the torso up, it also has shallow depth, with the foreground and background not having too much distance between them. The use of blur in the background helps emphasise this, as well as the characters.
Additionally, throughout the entire clip the composition remains a ‘two-shot‘ with 2 characters on-screen at all times, this allows the audience to appreciate the relationship and interaction between them. An interesting note is that the scene portrays a group of characters, yet as every shot is in pairs, we never see them interact as a group. This perhaps is to emphasise the task they are doing and that it is supposedly a partnership, adding to the dialogue of the main fox, who wants her to stop becoming distracted by the group.
A pan-shot is also used to show the characters are in the same room.
Bao Pixar Short
This 7-minute short animation follows the story of an elderly Chinese lady who finds her dumpling has come to life, she decides to nurture it through childhood, getting a chance to become a mother once again. This cinematic product follows the ‘Three Part Story‘ very clearly, with an obvious beginning, middle and end.
The clip follows a five-act structure:
The Exposition; A mother is making dumplings and living a very mundane life. One of them comes to life and she treats it like her own, raising it through childhood to adulthood.
Rising Action; The wants of the child and mother no longer align. This causes rising tension in the clip, as it creates problems between the characters relationship.
The Climax; The climax slowly builds as the dumpling child chooses his friends and girlfriend over his family. The most tense part being when the mothers frustration grows too much and she eats him. Still peaking with the reveal that the dumpling was a metaphor for her actual child all along, who had similarly left home.
Falling Action; During the decline in tension, we see the son return home to his mother with food as a peace offering.
Denouncement or Resolution; In a dramatic ending, the story resolves with an emotional re-connection between the characters. The final scene being the whole family – including the fiancée) making dumplings together. This is a clever nod to the beginning scene in which the mother makes the first dumpling that becomes alive.
This conclusion follows Freytags Triangle, with a direct link between the opening scene and the ending one. The whole clip has a very well-resolved feeling to it.
This Pixar Short doesn’t necessarily depict a Heroic Journey or the Structure of the Monomyth. This is perhaps because both protagonists would not fit the classic role of ‘hero’. The son’s story-arc has the potential to follow this narrative, with him leaving the home, finding himself and perhaps going through his own trials, then returning. Though the narration is portrayed through the mothers POV.
Another analysis is the visual distinctive vocabulary able to be used. As it is an animated movie the un-realistic storyline of a dumpling coming to life and then eaten is possible. Yet it still adheres to the same structural principles as a live-action movie.
The writer and director of Bao, Domee Shi, worked previously as a storyboard artist. So had good reference and knowledge on narrative creation. She spent a year working on the concept and story-art herself and used references from her own childhood for the world-building.
The composition of the visuals is very good throughout, notably using the ‘Rule of Thirds’ often. In this shot particularly it is very apparent, this is the title scene shot and therefore an important one. The blur on the background helps to accentuate the character, as does the positioning.
Here is an example of not using the rule of thirds as a stylistic choice. The characters in this shot are at the centre of the frame, it adds to the feeling of closeness that is meant to be portrayed.