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Bachelorarbeit BACHELORARBEIT Herr Johannes Hurtig Nemesis CGI: Verdrängung klassischer Animationstechniken durch computergenerierte Bewegtbilder und der Erhalt ihrer Marktfähigkeit 2017 Fakultät Angewandte Computer- und Biowissenschaften BACHELORARBEIT Nemesis CGI: Verdrängung klassischer Animationstechniken durch computergenerierte Bewegtbilder und der Erhalt ihrer Marktfähigkeit Autor: Herr Johannes Hurtig Studiengang: Medieninformatik und Interaktives Entertainment Seminargruppe: MI12w2-B Erstprüfer: Dipl.-Ing., Prof. Alexander Marbach Zweitprüfer: Dipl.-Ing. Sieglinde Klimant Einreichung: Mittweida, 12.06.2017 Fakultät: Angewandte Computer- und Biowissenschaften BACHELOR THESIS Nemesis CGI: Supersedence of traditional animation techniques by computer generated imagery and the preservation of their marketability author: Mr. Johannes Hurtig course of studies: Media Informatics and Interactive Entertainment seminar group: MI12w2-B first examiner: Dipl.-Ing., Prof. Alexander Marbach second examiner: Dipl.-Ing. Sieglinde Klimant submission: Mittweida, 12.06.2017 Faculty of Applied Sciences of Information Technology and Biology IV Bibliografische Angaben: Nachname, Vorname: Hurtig, Johannes Nemesis CGI: Verdrängung klassischer Animationstechniken durch computergenerierte Bewegtbilder und der Erhalt ihrer Marktfähigkeit Nemesis CGI: Supersedence of traditional animation techniques by computer generated imagery and the preservation of their marketability 2017 - 81 Seiten Mittweida, Hochschule Mittweida (FH), University of Applied Sciences, Fakultät Angewandte Computer- und Biowissenschaften, Bachelorarbeit, 2017 V Abstract In dieser Bachelorarbeit wird die steigende Nutzung von computerbasierten Anima- tionstechniken und ihre Auswirkungen auf die Popularität von handgezeichneten Animationen und Stop-Motion-Filmen analysiert und kritisch hinterfragt. Unter Animation sei in diesem Fall ein Bewegtbild in Form eines Films, einer Fernseh- serie oder eines auf sonstige Weise verbreiteten Videos zu verstehen, welches aus- schließlich unter Verwendung von Computern, Puppentrick oder gezeichneten Bild- inhalten erstellt wurde. Animierte Elemente in Realfilmen sollen nicht berücksichtigt werden. So sind in Filmen, wie JASON AND THE ARGONAUTS (R.: Don Chaffey. USA 1963) oder AVATAR (R.: James Cameron. USA 2009), zwar animierte Elemente enthal- ten, jedoch dienen diese lediglich als Werkzeug zur Erweiterung der filmisch darstellba- ren Realität. Diese Werke sind somit nicht als Animationsfilme kategorisiert und werden in dieser Arbeit nicht grundlegend behandelt. Jegliche Erwähnung dieser Art steht im direkten Zusammenhang zu ihrer Auswirkung auf die zugrunde liegende Animations- form. In dieser Arbeit wird erläutert, in welchem Maße das computergenerierte Bewegtbild in der Populärkultur eine Vorrangstellung einnimmt und welche geschichtlichen Hinter- gründe dazu führten. Dazu wird Zeichentrick vor allem auf seinen Kostenaufwand, die allgemeine Produktionsdauer, die benötigte Arbeiterschaft und seine Popularität in der Bevölkerung hin untersucht. All dies geschieht im Vergleich zu Computeranimation. Außerdem wird versucht, anhand globaler Vergleiche Lösungsansätze zu finden, mit deren Hilfe die Marktfähigkeit von 2D- und Stop-Motion-Animationsfilmen zukünftig gewährleistet bleiben kann. Das Thema lässt sich im Fachbereich Medien einordnen. Besonders Interessenten der Animationsfilmherstellung und Medienstudenten soll die- se Abhandlung nützliche und wissenswerte Sachverhalte über die zugrunde liegende Kontroverse näherbringen. VI Inhaltsverzeichnis Abstract........................................................................................................................V Inhaltsverzeichnis.......................................................................................................VI Abbildungsverzeichnis.............................................................................................VIII 1 Einleitung.................................................................................................................1 2 Zeichentrick.............................................................................................................4 2.1 Die sechs Epochen der Animation nach Bendazzi............................................4 2.1.1 Prähistorie (0-1908).................................................................................5 2.1.2 Die Stummfilmära (1908-1928)................................................................6 2.1.3 Das Goldene Zeitalter (1928-1951).........................................................9 2.1.4 Die Geburt eines Stils (1951-1960)........................................................11 2.1.5 Die Drei Märkte (1960-1991).................................................................14 2.1.6 Die Zeitgenössische Ära (1991-heute) und wie CGI zum Standard wurde.........................................................17 2.2 Die Zukunft des Zeichentrick im Kino..............................................................20 2.2.1 Warum Hollywood keinen Zeichentrick mehr praktiziert.......................21 2.2.2 Neue Möglichkeiten für Zeichentrick ...................................................30 3 Stop-Motion...........................................................................................................43 3.1 Geschichte der Stop-Motion...........................................................................43 3.2 Wie Stop-Motion zum Stilmittel wurde............................................................48 3.3 Neue Techniken im Stopptrick........................................................................51 4 Animation heute....................................................................................................55 4.1 In Amerika.......................................................................................................55 4.2 In Japan..........................................................................................................68 4.3 In Europa .......................................................................................................73 5 Fazit........................................................................................................................79 Literaturverzeichnis.....................................................................................................X Anlagen...................................................................................................................XXVI Eigenständigkeitserklärung..................................................................................XLVII VII Abbildungsverzeichnis Abbildung 1: Diagramm zur Verdeutlichung von Moore's Gesetz ................................23 Abbildung 2: Einzelbild einer gezeichneten Testanimation für Disneys Moana............27 Abbildung 3: Darstellung abstrakter Gewalt in The Spongebob Squarepants Movie... 36 Abbildung 4: Beispiel für die Zurückhaltung bei hyperrealistischen Bildern..................38 Abbildung 5: Standbild eines Animationstests in einer Szene aus Jurassic Park.........47 Abbildung 6: Diverse Gesichter angefertigt für den Film Kubo and the Two Strings.....53 1 1 Einleitung „The computer is the greatest single instrument that ever happened to an animator. The computer is such a magical thing. ([…]) The computer is god.“ - Ralph Bakshi in: C. Edwards/Cartoonbrew, Interview: Ralph Bakshi on the Animation Industry, Then & Now (05.05.2014) Die stetig fortschreitende Digitalisierung der Welt ist heutzutage präsenter denn je. Das Zeitalter der Computer ist längst angebrochen und hält Einzug in sämtliche Nischen und Professionen der Populärkultur. So auch im Bereich der Animationsfilmherstellung. Animation, so die Definition, ist ein Filmverfahren, das unbelebten Objekten im Trickfilm Bewegung verleiht (Duden, 2017, Suchbegriff „Animation“). Die Illusion der Regung wird, wie auch im Realfilm, erzeugt durch die schnelle Abfolge sich aufeinander bezie- hender Einzelbilder, im Folgenden auch Frames genannt. Diese stellen einzelne Ab- schnitte eines Bewegungsverlaufes dar. Der Unterschied zwischen Realfilm und Ani- mation ist, dass ersterer auf naturgegebenen Bewegungen basiert, während in der zweiten Methode jedes Einzelbild synthetisch erstellt ist. Vor der Erfindung des Compu- ters war dies ausschließlich durch Zeichnungen oder Fotografien positionierbarer Pup- pen möglich. Diese Prozesse verlangen nach speziell dafür ausgebildeten Künstlern, sogenannten Animatoren. Ihre Kenntnis von natürlichen Bewegungen und die Fähig- keit, diese durch Einzelbilder nachzuahmen, waren ausschlaggebend für die Qualität solcher Bewegtbilder. Auch heutzutage verlangt diese Profession nach nicht minder kundigen Fachkräften, um ein hochwertiges Ergebnis zu gewährleisten. Doch haben sich die Umstände der Arbeitsweise drastisch geändert. Wo noch vor wenigen Jahr- zehnten versierte Zeichner und Maler bei der Erstellung eines animierten Bewegtbildes unerlässlich waren, so verrichten heutzutage meist Computer den Großteil der Arbeit. Charaktere und Hintergründe sind oftmals nicht mehr mit dem Stift erstellt, sondern werden als digitale 3D-Modelle konzipiert und modelliert. Das Verfahren nennt sich CGI, ein Akronym für „computer generated imagery“1. 1 Übersetzt etwa „computergenerierte Bilder“ Kapitel 1: 2 Diese Bezeichnung ist objektiv betrachtet sehr zutreffend. Tatsächlich ist der Rechner selbst dazu in der Lage, ein automatisiertes Bewegungsmuster zwischen vorher fest- gelegten Einzelbildern, sogenannten Keyframes, zu generieren. Es
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