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A Comparative Analysis of the Transition from Stop-Motion to CG Animation at Two South African Studios: Sunrise and Triggerfish

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A Comparative Analysis of the Transition from Stop-Motion to CG Animation at Two South African Studios: Sunrise and Triggerfish A Comparative Analysis of the Transition from Stop-Motion to CG Animation at Two South African Studios: Sunrise and Triggerfish Kelly Walker A Research Report submitted to the Faculty of Arts, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements of the degree of Master of Arts in the field of Digital Animation by Research Report. Cape Town 2019 1 Abstract A critical and comparative analysis of South African computer-generated animation, focusing on the CG animation produced by two Cape Town based studios: Sunrise and Triggerfish. The history of these studios, as well as the technical and stylistic conventions that they subscribe to in the creation of computer-generated animation, will be discussed relative to each other and to their stop-motion origins. The bulk of the inquiry will take the form of a comparative analysis of four texts, with Khumba (2013) reflecting Triggerfish’s CG portfolio and their work for Takalani Sesame (2000-2005) depicting their stop-motion contributions, while Munki and Trunk (2016) and The Legend of the Sky Kingdom (2003) represent Sunrise’s CG and stop-motion animation respectively. Through a comparison of production pipelines, techniques and style, an attempt will be made to assess the impact of global markets on South African animation aesthetics. 2 Declaration I hereby declare that this dissertation is my own work. It is submitted for the degree of Master of Arts in field of Digital Animation at the University of the Witwatersrand, Johannesburg. It has not been previously submitted for any degree or examination at any other university. __________________________ Kelly Walker 29th day of May 2019 3 Acknowledgements As a representation of the culmination of two years of work, this thesis is the product of an infinite number of sources of influence and inspiration, but I would especially like to acknowledge a small number of individuals who have left their mark on this research. First and foremost, I would like to thank my supervisor Prof. Christo Doherty whose patience with me was immense and whose guidance was immeasurable in pushing me to refine, rework, and rethink my writing in ways that I could never initially have imagined. Hilton Treves, Phil Cunningham, Matthew Brown, Mike Buckland, Stuart Forrest, Anthony Silverston, Riccardo Capecchi, Ree Treweek, Dianne Makings, David Hecker and Martin Heigan for being so willing to take time out of their busy schedules to assist in this research. Nuno Martins and Rhiannon Rheid for their immense generosity. Shani Campbell for her prolonged enthusiasm, unending encouragement and her challenging of my ideas in the best possible way. My family, some of whom I am fairly confident despite my decade long involvement in the field of CGI still do not fully understand what I do for a living, but support me unwaveringly all the same and always understood when my computer took up more time than them. Sao Mendes and Shaun Schoeman who both went above and beyond to assist me with administration on more than one occasion. My colleagues Carl Visagie, Alex Gilfillan, Bronwyn Horne, Jarrod Hasenjager, Nicole Wolman, Nick Welch, Benito Kok, and Sam McSharry for constituting a team which afforded me the opportunity to lean on them when late nights spent writing accumulated. Last, but certainly not least, my students who in many ways were the catalyst for this research and from whom I learn every day. 4 Contents Abstract 1 Declaration 2 Acknowledgements 3 Contents 4 List of Figures 7 Glossary 9 Introduction 11 Chapter 1: The History of Three-Dimensional Animation 18 1.1 The Origins of Animation in South Africa 18 1.2 The 1920s and the Dawn of Industrialised Animation in America 20 1.3 The Emergence of Traditional Animation in South Africa 21 1.4 The Dawn of Television in South Africa and the SABC’s Animation Unit 22 1.4.1 Annie-Mation Studios 24 1.5 1980 - 2005, South African Stop-Motion 26 1.5.1 Klaybow Films & XYZoo 28 1.5.2 Triggerfish (1996-2005) 30 1.5.3 Sunrise (1998 - 2004) 32 1.6 AARPA, the University of Utah and The birth of CGI 34 1.6.1 The Birth of Pixar 35 1.6.2 Disney Tests the CG Waters 36 1.7 The Beginnings of South African CG 37 1.7.1 Digital Direction 37 1.7.2 The House Next Door 40 1.7.3 Triggerfish (2003 - Present) 43 1.7.4 Sunrise (2005 - present) 47 1.8 Thoughts on the historical Context of South African CG Animation 50 5 Chapter 2: The Aesthetics of Animation 54 2.1 The Birth of the Disney Style of Animation 56 2.1.1 Narrative 56 2.1.2 Forms and Spaces 57 2.1.3 Movement 57 2.1.4 Sound 60 2.2 Pixar and the Principles of Animation 60 2.2.1 Narrative 61 2.2.2 Forms and Spaces 61 2.2.3 Movement 65 2.2.4 Sound 67 Chapter 3: Triggerfish: A Case Study 68 3.1 Production Context 69 3.2 An analysis of the early stop-motion animation produced by Triggerfish Studios 70 3.2.1 Narrative and Structure 70 3.2.2 Three Dimensional Forms 72 3.2.3 Three Dimensional Spaces 73 3.2.4 Movement 75 3.2.5 Sound 77 3.3 A Distinctly South African Stop-Motion Aesthetic? 78 3.4 An analysis of the CG animation produced by Triggerfish Studios 79 3.4.1 Narrative and Structure 79 3.4.2 Three-Dimensional Forms 81 3.4.3 Three-Dimensional Spaces 83 3.3.4 Movement 89 3.3.5 Sound 91 3.4 A Distinctly South African CG Animation Aesthetic? 93 Chapter 4: Sunrise: A Case Study 94 4.1 Production Context 94 4.2 An analysis of the early stop-motion animation produced by Sunrise Productions 97 4.2.1 Narrative and Structure 97 4.2.2 Three Dimensional Forms 101 6 4.2.3 Three Dimensional Spaces 103 4.2.4 Movement 107 4.2.5 Sound 108 4.3 A Distinctly South African Stop-Motion Aesthetic? 108 4.4 An analysis of the CG animation produced by Sunrise Productions 109 4.4.1 Narrative and Structure 110 4.4.2 Three-Dimensional Forms 111 4.4.3 Three-Dimensional Spaces 113 4.4.4 Movement 114 4.4.5 Sound 116 4.5 A Distinctly South African CG Animation Aesthetic? 116 5. Conclusion 117 5.1 Observations and Recommendations 118 5.2 Government Funding Policies and the South African Animation Industry 119 5.3 The Nollywood Model 123 5.4 Closing Thoughts 124 Appendix A Filmography 125 Appendix B Timeline 129 Appendix C Interviews 130 Works Cited 178 7 List of Figures Fig. 1.Still from the BMW Sheer Driving Pleasure Campaign 40 Fig. 2. Still from Simba Roar with Flavour Campaign 42 Fig. 3. Still from Life at the pond: The rise and fall of Tony the frog 45 Fig. 4. Still from Me and Jessie D: Fish Fry 45 Fig. 5. Still from Sopo 45 Fig. 6. Still from Always Take the weather with you, Jungle Beat Pilot 49 Fig. 7. Still from Lifted, Jungle Beat Season 3 49 Fig. 8. Still from Once Upon a Stable 50 Fig. 9. Still from The Lion of Judah 50 Fig. 10 Environment Design in URBO: The Adventures of Pax Afrika 52 Fig. 11 Character Design in URBO: The Adventures of Pax Afrika 52 Fig. 12 Character Design in Magic Cellar 53 Fig. 13 The Development of the treatment of eyes, early Disney 62 Fig. 14 The Development of the treatment of eyes, classic Disney 62 Fig. 15 The Development of the treatment of eyes, Pixar 62 Fig. 16. Body Type Comparison: Cinderella 63 Fig. 17. Body Type Comparison: Snow White and the Seven Dwarfs 63 Fig. 18. Body Type Comparison: Cinderella 63 Fig. 19. Body Type Comparison: Snow White and the Seven Dwarfs 63 Fig. 20. Body Type Comparison: The Incredibles 2 64 Fig. 21. Body Type Comparison: Inside Out 64 Fig. 22. Body Type Comparison: The Incredibles 64 Fig. 23. Body Type Comparison: Brave 64 Fig. 24. Motion Blur: Presto 66 Fig. 25. Smear Frames: Aladdin 66 Fig. 26. Smear Frames: Frozen 66 Fig. 27. Still from Red Brushes Teeth 71 Fig. 28. Still from Elements of Nature 71 Fig. 29. Still from Michael the Visitor 73 Fig. 30. Still from Red Brushes Teeth 73 Fig. 31. Still from Redbrandt 74 Fig. 32. Still from Redbrandt 74 Fig. 33. Still from Elements of Nature 74 Fig. 34. Still from Chickens Recycle 75 Fig. 35. Dancing Chameleon: Limited Movement 76 Fig. 36. Dung Beetle: Limited Movement 76 Fig. 37. South African Street Art: Beaded & Wire Tourist Curios 78 Fig. 38. Still from Coughing Cows 78 8 Fig. 39. Still from Dancing Chameleon 78 Fig. 40. South African Street Art: Plastic Bag Chickens 79 Fig. 41. Still from Chickens Play Soccer 79 Fig. 42. Khumba: Nigel 82 Fig. 43. Madagascar: Herd of Zebras 82 Fig. 44. Madagascar: Marty 83 Fig. 45. Khumba: Khumba 83 Fig. 46. Khumba: Landscape defying western traditions 87 Fig. 47. Khumba: Landscape defying western traditions 87 Fig. 48. Khumba: Landscape defying western traditions 87 Fig. 49. Khumba: Traces of modernity, history and context 88 Fig. 50. Khumba: Traces of modernity, history and context 88 Fig. 51. Khumba: Traces of modernity, history and context 88 Fig. 52. Khumba: Traces of modernity, history and context 88 Fig. 53. Khumba: Traces of modernity, history and context 89 Fig. 54. Khumba: Traces of modernity, history and context 89 Fig. 55. The Legend of the Sky Kingdom: Serpent 99 Fig.
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