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Multimedijska Produkcija

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Multimedijska Produkcija V I S O K A [K O L A ELEKTROTEHNIKE I R A ^ U N A R S T V A MULTIMEDIJSKA PRODUKCIJA Aleksandar Kajevi} MULTIMEDIJSKA PRODUKCIJA Autor: Aleksandar Kajevi} Recenzenti: Dr Predrag Staleti} Mr Aleksandar Mileti} Izdava~: Visoka {kola elektrotehnike i ra~unarstva Beograd, Vojvode Stepe 283 [tampa: Beograd - Zemun ISBN 978-86-7982-220-8 Nastavno ve}e Visoke {kole elektrotehnike i ra~unarstva u Beogradu odobrilo je kori{}ewe ovog pomo}nog uxbenika u nastavi. Zabraweno pre{tampavawe i kopirawe. Sva prava zadr`ava izdava~. MULTIMEDIJSKA PRODUKCIJA Aleksandar Kajevi} .......2015....... FILMSKA ANIMACIJA FILMSKA ANIMACIJA Sadr`aj: Filmska animacija 1 Poreklo re~i i pojma animacija 2 "Animacija" i film 6 Vizualno pri~awe pri~a 12 Autorska priprema 16 Tehni~ka realizacija filma 30 Umetnost animacije 82 Animacija - tehnologije i tehnike 98 Snimawe i kompoziting 119 Osvetqavawe 151 Kompozicija 168 Monta`a i re`ija 185 Kompozit 221 Kompjuterska animacija 241 Perspektive: nefilmska animacija i ekranska umetnost 262 Spisak filmova 269 Indeks 278 O kwizi 284 FILMSKA ANIMACIJA Filmska animacija Hm? Posmatrano unazad, filmsku animaciju ~inili su Miki, Paja, [iqa, Dambo i ostala Diznijeva likovna garda. Danas, filmsku animaciju ~ine [rek, Stra{ko, Sal, Panda, i osta- la Lesiterova, Piksarova i Drim Vrksova hardver-mena`e- rija. Me|utim, danas je ~ine i Xeksonov Golum i King Kong, ili Lukasove vojske, ^ubaka i Xaba D Hat, Kameronovi Ter- minator i Titanik, kao i "milion" raznolikih "`ivih" stvo- rewa, nastalih putevima mi{a, tastature, ekrana i prog- ramskih kodova.[ta }e je ~initi i {ta }e animacija biti "sutra i preksutra"? U o~iglednoj perspektivi, svakako }e i daqe biti film, i to film kao jedinstven pojam, stvaran sve vi{e kompjuterom i modelima i sve mawe kamerom i `ivim bi}ima. A "posle perspektive" i izvan filma preostaje animacija nas lowena na Internet i mobilnu telefoniju, kao osnova budu}e op{te vizualne komunikacije; ili animacija za neku novu vizualnu, mo`da stvarno trodimenzionalnu umetnost, ako zaista proradi holografija ili neke od onih tehnologija sa dimovima, za vizualnu predstavu stvarnog prostora i do- ga |aja, makar to bilo i sa o~nim i taktilnim pomagalima. U ovim ili bilo kojim druga~ijim mogu}nostima i perspek- tivama, animacija }e se svakako razvijati na sistematizova- nim postoje}im saznawima i u ovoj kwizi bavi}u se upravo izabranim elementarnim tehnolo{kim, teorijskim i umet- ni~kim saznawima neophodnim za kreaciju, ali i za razume- vawe pojava filma i animacije, sa kojima sve lak{e, ~e{}e i prirodnije `ivimo. 1 FILMSKA ANIMACIJA Poreklo re~i i pojma animacija Re~ animacija latinskog je ili gr~kog porekla. Anima (gr~ki), odnosno Animus (latinski), ozna~ava duh, "du{u". Latinski Animatio ozna~ava o`ivqavawe, davawe du{e, `ivost. Animatio ozna~ava i trenutak od koga se zametak u utrobi smatra `ivim. "Animirati" ozna~ava: pobuditi, podstaknuti, o`iveti ili, u poetskom i umetni~kom konceptu, "dati du{u ne~ijem kretawu". Savremeno zna~ewe i upotreba op{te prihva} e nog pojma "animacija" prevazilazi osnovno zna~ewe same re~i i predstavqa sa`imawe u naslovqavawu konkretnih umet- ni~kih i tehni~kih disciplina: animiranog filma, kompju- terske animacije i raznolikih dizajnerskih i multimedijs- kih vizuelnih formi. Pojedina~ne discipline animacije predstavqaju slo`e ne teh­­nolo{ke i tehni~ke sisteme stvarawa animiranog umet- ni~­­kog dela ili proizvoda, i to jednostavnim postupcima: 1. formirawa aktera - stati~ne jedinice (ili vi{e sta- ti~nih jedinica); 2. sistematizovanog prostornog izme{tawa aktera iz stati~ne u narednu stati~nu poziciju (pozu); 3. sistematizovane vizualne registracije niza pozicija (poza), aktera na predvi|enom mediju; i 4. prikazivawa (projicirawa), realizovane animacije. Stvarala~ki raspon izme|u emotivno bezvrednih prezenta- cionih svojstava animiranog proizvoda realizovanog pret- hodnom op{tom tehnologijom i istom tehnologijom realizo- vanog vrednog umetni~kog dela, definisan je samo kvalite- tom "duha - du{e" (animusa - anime), odnosno stvorenim psi- holo{ko-emocionalnim svojstvima pokreta i kretawa akte- ra, {to zna~i stvorenim "`ivotom" kreiranog lika. Do osamdesetih godina dvadesetog veka, pojam "animacija" odnosio se iskqu~ivo na autonomnu filmsku disciplinu sa nazivom animirani film, sa minimalnim u~e{}em u proiz- vodima komercijalnog tipa kao {to su pro pa gandni spotovi, nastavnog tipa (tkzv. tehni~ka animacija), i tekstualnim proiz vodima ({pice, naslovi). Razvoj elektronskih (video i televizijskih), tehnologija po~etkom sedamdesetih godina, nije ostavio trag na sveukupnost animacije. Me|utim, po~ev od osamdesetih godina, razvoj i omasovqavawe digitalnih tehnologija omogu}ili su zna~ajnu promenu u svim aspektima animacije, zakqu~no sa formirawem pojave koja se ustalila pod nazivom "industrija animacije". 1982. godine Diznijev studio proizveo je film Tron (re `i- ser Stiven Lisberger), sa~iwen od zna~ajne minuta`e komp- 2 FILMSKA ANIMACIJA juterski generisanih i animiranih modela, krajwe po jednos- tavqenih oblika (dve slike desno). Xon Lesiter je u~estvovao u formirawu Piksara 1986. godine, a 1989. kreirao je prvi kratkometra`ni kompjuterski animirani film Knik Knak (naredne dve slike desno). 1991. film Xejmsa Kamerona, Termina- tor 2, sadr`ao je skromnu koli~inu teh- nolo{ki "tajanstveno" realizovane, fascinantne kompjuterske, za ta da{ we uslove hiperrealis- ti~ ne animacije (naredna tri ho rizontalna fotograma). Piksarova Pri~a o igra~kama, donosi Xonu Lesiteru 1995. go dine Oskara za posebna dos- tignu}a (dve dowe slike), za prvi dugometra`ni kompjuter- ski animirani film. Od 1999. do 2003. Matriks i Ra tovi zvezda ukidaju granicu izme|u autonomija kreacije kla si~nih igranih i animi ra- nih filmova. Od 2001. do 2003. godine Gospodari prstenova Pitera Xek- sona i Vete probijaju granicu od jedne milijarde zara|enih dolara. Gotovo pola veka od dodeqivawa jedinog Oskara za krat ko- met ra`ni animirani film Surogat, autoru sa ovih prostora Du{anu Vukoti}u, u Srbiji nije u celosti stvoren niti proiz veden konkurentan dugometra`ni animirani film (Ha~ipu iz 1987. ili Film Noar iz 2007. ne mogu se smatrati srpskim delima, s obzirom da se rad na wima svodio na pru `awe proizvodnih usluga). 3 FILMSKA ANIMACIJA Animacija je u proteklih ~etvrt veka eksplodirala zahva qu- ju}i digitalnim tehnologijama i tehnikama. Kraj se ne mo`e naslutiti ni u produkcionom, kao ni u umetni~kom i autors- kom smislu. Tako|e se ne mo`e doneti zakqu~ak o realnim umetni~kim i poslovnim perspekti- vama animacije, s obzirom da je da na{wa ani- macija, u umetni~kom smislu, jo{ uvek derivat animiranog filma, a u poslovnom smislu, po- seb no u proteklih petnaestak godina, iskazuje predimenzioniranu ekspanziju u pos lovnim ka- tegorijama, sa ostvarivawem go di{ weg nov ~a- nog obrta proizvoda animacije u iz­­nosu od ne- koliko desetina milijardi dolara. Ovakav raz- voj animacije paralelan je op{tem razvoju in- for mati~ke industrije, odnosno u~e{}u infor- mati~kih tehnologija i sredstava u vizualnim, auditivnim i komunikacionim delatnostima, i svakako je to prostor za neke od smerova sa- da{ wosti i budu}nosti animacije. S obzirom na teku}e okolnosti tehnologije i tr`i{ta, uop{tena analiza sada{wosti ani- macije ~ini se da iskazuje izuzetno prospe ri- tetnu budu}nost radnika animacije (kreatora, proizvo|a~a, tehni~ara, informati~ara, i osta- lih bliskih disciplina). Vrhunska tehnologija (sam ra~unar, osnovni ulazni i izlazni ure|aji, osnovni programi), neophodna za samostalnu autorsku ili proizvodnu delatnost animacije, nabavqa se za mawe od polovine vrednosti ev- ropskog automobila ni`e kategorije. Paradoksalno je da je pre svega petnaestak go- dina vrednost osnovne profesionalne tehnologije za rea- lizaciju animacije iznosila vi{e od tridesetostrukih da- na{wih vrednosti, odnosno vi{e od 150 000$, bez obzira da li se radilo o tada{wim radnim stanicama tipa Sili- kon grafiks sa renderingom na Kreju (slika levo), ili Ajbiemovim radnim sta nicama, sa programima tipa Alias, Vejvfront, Softimix, Topaz, ili se ani- macija izvodila klasi~nom filmskom teh nologijom: rostrum kamerom i trik stolom (slika na slede}oj strani). Tr- `i{ te savremenog animatora je ceo svet, odnosno onaj deo sveta koji je "pok- ri ven" elektri~nom energijom, avions- kim saobra}ajem, Internetom i telefo- nijom. Tako|e, pre spomenutih samo pet- 4 FILMSKA ANIMACIJA naestak godina, tr`i{te je bilo klasi~nog, dr- `avnog i korporacijskog tipa, bez mogu}nosti za zna~ajno zastupawe i promociju samostalnog animatorskog rada i autorstva. Jasni su poka- zateqi ovako prosperitetnih tendencija razvo- ja posla animacije: danas je i studio Dizni sa- mo jedan od poslovnih sistema animacije, upo- redo sa Piksarom, Drim vrksom, i japanskim, in dijskim, novozelandskim i mnogim drugim kor porativnim sistemima u kojima stotine umet nika ili tehni~ara proizvodi animaciju. Ovako idili~nu perspektivu za mladog, talen- tovanog kreatora, koji bi `eleo da karijeru izgradi u nekoj od izvanredno zabavnih, ekstremno in- teresantnih i dobro pla}enih disciplina proizvodwe animacije za potrebe filma, te- levizije, kompjuterskih igara, komercijalnih proizvoda, multimedijskog dizajna u naj{irem, arhitektonske, automobilske, avio, i svih osta- lih industrija, ozbiqno naru{ava onaj (pored tehnologije i tr `i{ta), tre}i i danas najzna~ajniji faktor razvoja savre- menog ~ove~anstva: znawe. I to ne u tolikoj meri znawe koje je neophodno za komunikaciju i upravqawe digitalnim teh- nologijama, ve} znawe osnova same materije animacije, koje ~ini vi{evekovno znawe klasi~nih disciplina slikarstva, vajarstva, grafike, muzike, teksta, kao i jednovekovno znawe umetnosti filma i animiranog filma. Upravo primena tog tipa znawa ~ini King Konga, Goluma, Stra{ka i Sala, i osta- le savremene, o`ivqene junake, dobrim ani- macijama, isto kao i u slu~ajevima Bam b­­i­­ja, Damba, Paje Patka, Kojota i Ptice Trka­­~i ce, "o`ivqenih" pre vi{e decenija.
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