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Animação Stop-Motion X Animação Digital 3D

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Animação Stop-Motion X Animação Digital 3D UNIVERSIDADE FEDERAL DO RIO DE JANEIRO ESCOLA DE COMUNICAÇÃO ANA BEATRIZ MUGGIATI SUASSUNA OS INCRÍVEIS: Animação stop-motion x animação digital 3D Rio de Janeiro 2004 Ana Beatriz Muggiati Suassuna OS INCRÍVEIS: animação stop-motion x animação digital 3D Trabalho de conclusão de curso submetido ao corpo docente da Escola de Comunicação, Universidade Federal do Rio de Janeiro, como parte dos requisitos necessários à obtenção do título de Bacharel em Comunicação Social, habilitação Radialismo. Orientador: Professor Luciano Saramago Rio de Janeiro 2004 S. Suassuna, Ana Beatriz Muggiati S. Os Incríveis: animação stop-Motion x animação digital 3D / Ana Beatriz Muggiati Suassuna. Rio de Janeiro, 2004. 125 f.: il. Trabalho de conclusão de curso (Graduação em Comunicação Social) – Universidade Federal do Rio de Janeiro Escola de Comunicação, 2004. Orientador: Luciano Saramago 1. Animação. 2. Debate entre técnicas 3. Comunicação Social (Trabalho de conclusão de curso) I. Saramago, Luciano (orient.). II. Universidade Federal de Comunicação. III. Título. CDD ANA BEATRIZ MUGGIATI SUASSUNA OS INCRÍVEIS: animação stop-Motion x animação digital 3D Trabalho de conclusão de curso submetido ao corpo docente da Escola de Comunicação, Universidade Federal do Rio de Janeiro, como parte dos requisitos necessários à obtenção do título de Bacharel em Comunicação Social, habilitação Radialismo. Rio de Janeiro, 16 de dezembro de 2004 ________________________________________________________________ Prof. Luciano Saramago, MSc Comunicação, ECO / UFRJ. _______________________________________________________________ Profª. Fátima Sobral Fernandes, DSc, ECO / UFRJ. _______________________________________________________________ Prof. José Henrique Ferreira Barbosa Moreira, Mestre em Comunicação Social, ECO / UFRJ. _______________________________________________________________ Prof. Mauricio Lissovsky, Doutor em Comunicação Social, ECO / UFRJ. À minha família. Obrigada aos meus amigos que me ajudaram com suas sugestões e críticas. “A animação não é a ilusão da vida, é vida.” Chuck Jones (MALTIN, 1994) RESUMO SUASSUNA, Ana Beatriz M. Os Incríveis: animação stop-motion x animação digital 3D. Rio de Janeiro, 2004. Trabalho de conclusão de curso (Graduação em Comunicação Social), Escola de Comunicação, Universidade Federal do Rio de Janeiro, Rio de Janeiro, 2004. Nesta monografia, tem-se como objetivo avaliar se a animação digital 3D substituirá técnicas mais artesanais como a animação stop-motion. Neste estudo, pretende-se demonstrar por meio da análise da história e dos processos das animações que as diferenças intrínsecas a essas linguagens as tornam linguagens importantes para livre expressão dos artistas. Mostre-se, no entanto, a importância do computador como uma ferramenta facilitadora para todas as áreas da animação, pois, a revolução da era digital na animação pode ser comparada à imposta por Walt Disney nos anos 30. As diferentes técnicas deverão co-existir enquanto os artistas forem capazes de produzir animações com boas histórias em geral. A pesquisa será feita em livros que abordam especificamente o tema da animação e na Internet para busca de entrevistas e depoimentos com profissionais do meio. O intuito for o de buscar o maior número de depoimentos possíveis, para que a análise da questão fosse a mais completa possível, abordada sob diversos pontos de vista. ANIMAÇÃO, DEBATE ENTRE TÉCNICAS, COMUNICAÇÃO SOCIAL. ABSTRACT SUASSUNA, Ana Beatriz M. Os Incríveis: animação stop-motion x animação digital 3D. Rio de Janeiro, 2004. Trabalho de conclusão de curso (Graduação em Comunicação Social), Escola de Comunicação, Universidade Federal do Rio de Janeiro, Rio de Janeiro, 2004. This main intention of this work is to evaluate the possibility of the replacement of old techniques, such as stop-motion by the modern 3D computer animation, it intends to demonstrate, throw analyses of the history and throw the animation process that the differences inhered to those languages made them important tools for the artists’ freedom of speech. However, it’s important to show the computer as a labor-saver in every area of animation, mostly because the revolution brought by digital technology might even be compared to the one imposed by Walt Disney on the 30’s. The different techniques will co-exist only if the artists continue to produce animations with good subject matters and good histories. The research has been based on technical animation books and complemented by internet interviews with important professionals in the medium. The idea is to find as many statements as possible, to bring a full analysis of the subject. ANIMATION, TECHNIQUES ANALYSES, SOCIAL COMMUNICATIONS LISTA DE ANEXOS Anexo A Linha do Tempo de filmes de animação 111 Anexo B Os 12 principios da animação 120 Anexo C Tradução do depoimento de John Lasseter (capítulo 4) 122 LISTA DE ILUSTRAÇÕES 1 Zoetrope 19 2 Praxynoscope e Théâtre Optique 20 3 “Voyage to the Moon” 22 4 “Gertie the Trained Dinousar” 23 5 “Snow White and the Seven Dwarfs” 25 6 “Love in Black and White” 32 7 “Faust” 34 8 “The Hand” 36 9 “Nightmare Before Christmas” 38 10 “Gumby” 40 11 Nick Park e “Creature Comfort” 42 12 “The Wrong Trousers” 44 13 “Vol Libre” 47 14 “Luxo Jr.” 49 15 “Bingo” 53 16 “Shrek” 55 17 “King Kong” 61 18 “Jason and the Argonauts” 64 19 Dynamation de Ray Harryhausen 65 20 “The Lord of the Rings” 69 21 Story board de “Nightmare Before Christmas” 72 22 Pintura das penas das galinhas de “Chicken Run” 75 23 Cenário “Nightmare Before Christmas” 76 24 Animador em “Chicken Run” 78 25 Sullivam de “Monsters Inc.” 86 LISTA DE TABELA 1 Tabela com Bilheterias das Animações 91 LISTA DE ABREVIATURAS 2D 2 dimensões CG Computer Graphics CGI Computer Graphic Images ILM Industrial Light & Magic PDI Pacific Data Images SM Stop-motion VFX Visual Effects SUMÁRIO LISTA DE ANEXOS LISTA DE ILUSTRAÇÕES LISTA DE TABELA LISTA DE ABREVIATURAS 1 INTRODUÇÃO 14 1.1 Contexto do tema 14 1.2 Justificativa da relevância do trabalho 14 1.3 Objetivos do trabalho 15 1.4 Hipóteses de trabalho 15 1.5 Metodologia adotada 16 1.6 Organização do trabalho 16 2 O ESTRANHO MUNDO DE JACK – 18 Uma introdução ao mundo da animação 2.1 Por que Animação? 18 2.2 Uma Breve história da busca pela reprodução do movimento 18 2.3 A História da animação tradicional 22 2.4 Animação em suas diferentes formas 26 2.5 A evolução do público 26 2.6 O processo básico de animação 28 2.7 Tecnologia Digital 30 3 A ERA DO GELO – A História da Animação Stop-motion 31 3.1 A história da Puppet Animation 31 3.2 A animação de bonecos na TV 37 3.3 A história da Claymation 39 3.4 O estúdio Aardman 41 4 ROBOTS – A História da Animação Digital 3D 46 4.1 As primeiras décadas – anos 60 e 70 46 4.2 Os anos 80 48 4.3 Década de 90 50 4.4 Fim dos anos 90 51 4.5 A breve, porém animada, história do Século XXI 53 4.6 A lei deste mercado 55 4.7 O desenvolvimento de uma tecnologia 57 segundo o olhar de um artista 5 STAR WARS – A Animação e os Efeitos Especias 60 5.1 Os pioneiros dos efeitos stop-motion 60 5.1.1 Willis O’Brien 60 5.1.2 Ray Harryhausen 62 5.2 “Star Wars” e o começo da era digital 65 5.3 A era digital 66 6 MOSTROS S.A. – O Processo de Produção 70 6.1 Animação – Stop-motion 70 6.1.1 A produção de um longa de animação stop motion 70 6.1.2 O planejamento e desenvolvimento da história 71 6.1.3 Gravação da voz 73 6.1.4 Como personagens viram bonecos 73 6.1.5 Estrutura e cenários 75 6.1.6 A arte de animar o inanimado 77 6.1.7 Pós-Produção 79 6.2 Animação – Digital de animação 3D 80 6.2.1 O Planejamento 80 6.2.1.1 Roteiro e Storyboard 81 6.2.1.2 Story Reels ou Animatics 82 6.2.1.3 O desenvolvimento Visual 83 6.2.1.4 Os Estilistas 84 6.2.2 A Fase de Produção 84 6.2.2.1 Layout da cena 84 6.2.2.2 A animação 85 6.2.2.3 Animação de efeitos, shading, iluminação e Rendering 85 6.2.2.4 A Contabilização 87 7 CLASH OF THE TITANS – O Panorama da Animação Hoje 88 7.1 O Selo de qualidade 3D 91 7.2 No final tudo se resume à história 92 7.3 Stop-Motion x CGI 93 7.4 O ponto de vista do artista 96 8 CONSIDERAÇÕES FINAIS 99 8.1 O Real x ilusório 99 8.2 Duas técnicas, duas artes 102 8.3 A sobrevivência das técnicas na história da arte 103 REFERÊNCIAS GLOSSÁRIO ANEXOS 14 1 INTRODUÇÃO 1.1 Contexto do tema O mundo da animação é tão antigo quanto o próprio cinema. Durante sua história, evoluiu graças à soma de pequenas inovações e ao gênio de empreendedores como Walt Disney e Ray Harryhausen. Ao longo dos anos o principio da animação e suas diversas formas permaneceram as mesmas. Até que, há algumas décadas atrás, sugiu o computador. A forma de se fazer animação mudou. O computador passou a auxiliar os artistas nas tarefas cotidianas da linha de produção da animação. Mas o maior impacto foi quando possibilitou o surgimento de uma nova linguagem, a animação digital 3D. Em algumas décadas, o homem passou dos computadores do tamanho de salas, que dificilmente fariam uma imagem animada, para micro-computadores capazes de fazer animações complexas, repletas de texturas e luz. Em resumo pode-se, comparar o impacto da tecnologia digital na animação à revolução imposta pelos estúdios Disney nos anos 30. Em plena crise mercadológica dos anos 80, uma vigorosa safra de longas animados surgiu para dar uma injeção de ânimo no mercado, e possibilitar que esse gênero voltasse a ser destaque na cultura do entretenimento.
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