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Daniel Leal Werneck “ESTRATÉGIAS DIGITAIS PARA O CINEMA DE Daniel Leal Werneck “ESTRATÉGIAS DIGITAIS PARA O CINEMA DE ANIMAÇÃO INDEPENDENTE” Universidade Federal de Minas Gerais Escola de Belas Artes Mestrado em Artes Visuais 2005 Daniel Leal Werneck “ESTRATÉGIAS DIGITAIS PARA O CINEMA DE ANIMAÇÃO INDEPENDENTE” Dissertação apresentada ao Curso de Mestrado em Artes Visuais da Escola de Belas Artes da Universidade Federal de Minas Gerais, como requisito parcial à obtenção do título de Mestre em Artes Visuais. Área de concentração: Produção e Crítica das Imagens em Movimento Orientador: Prof. Dr. Heitor Capuzzo Universidade Federal de Minas Gerais Escola de Belas Artes Mestrado em Artes Visuais 2005 Werneck, Daniel Leal, 1979- Estratégias digitais para o cinema de animação independente / Daniel Leal Werneck. - 2005. 240 f. : il. Orientador: Heitor Capuzzo Dissertação (mestrado) - Universidade Federal de Minas Gerais, Escola de Belas Artes 1. Animação (Cinematografia) - Manuais, guias, etc. - Teses 2. Animação por computador - Teses 3. Computação gráfica no cinema - Teses 4. Cinema experimental - Teses 5. Linguagem cinematográfica - Teses 6. Desenho animado - Teses I. Capuzzo, Heitor, 1954- II. Universidade Federal de Minas Gerais. Escola de Belas Artes III. Título CDD : 778.5347 “Estratégias Digitais para o Cinema de Animação Independente” - Daniel Leal Werneck RESUMO A presente dissertação é fruto de dois anos de pesquisa que exploraram as atuais possibilidades do cinema de animação dentro do âmbito da tecnologia digital e do uso de computadores pessoais na produção de filmes de animação. As informações aqui contidas se apresentam tanto em forma de manual prático quanto em forma de análises e questionamentos teóricos, buscando uma situação híbrida entre a capacitação informativa do público interessado e o trabalho teórico e prático de pesquisa acadêmica, de forma que o texto final possa ser divulgado livremente através da Internet em forma de um website onde qualquer usuário possa ter acesso gratuito a essas informações. ABSTRACT This paper is the result of two years of research that explored the most up-to-date possibilities of animation cinema inside the realms of digital technology and the use of personal computers in the production of animation movies. The information contained here is presented as a practical manual, full of technical and analytical inquiries. The idea is to create a text that works both for general people who are interested in the subject, and also for academical researchers. The final text will be freely distributed in the Internet, in the form of a free public website. 4 “Estratégias Digitais para o Cinema de Animação Independente” - Daniel Leal Werneck "Ai daquele que tenta isolar um ramo do saber de outro. (...) Toda ciência é una: linguagem, literatura, e história, física, matemática e filosofia; assuntos que parecem os mais distantes um do outro são na realidade interligados; ou melhor, todos formam um único sistema." - Jules Michelet in "Rumo à Estação Finlândia", Edmund Wilson 5 “Estratégias Digitais para o Cinema de Animação Independente” - Daniel Leal Werneck SUMÁRIO RESUMO............................................................................................................................................. 1 ABSTRACT................................................................................................................................1 INTRODUÇÃO..................................................................................................................................11 JUSTIFICATIVA...............................................................................................................................15 O ROTEIRO DA ANIMAÇÃO......................................................................................................... 17 DESIGN DE PERSONAGENS......................................................................................................... 35 DESIGN DE CENÁRIOS.................................................................................................................. 44 STORYBOARDING E ANIMATICS............................................................................................... 48 AS TÉCNICAS DE ANIMAÇÃO..................................................................................................... 51 BRINQUEDOS ÓPTICOS....................................................................................................... 51 ANIMAÇÃO 2D TRADICIONAL.......................................................................................... 56 ANIMAÇÃO USANDO O MACROMEDIA FLASH.............................................................63 STOP-MOTION........................................................................................................................68 3D DIGITAL.............................................................................................................................80 PIXILATION............................................................................................................................84 ANIMAÇÃO COM AREIA..................................................................................................... 87 TINTA A ÓLEO....................................................................................................................... 91 DIRETO NA PELÍCULA.........................................................................................................93 6 “Estratégias Digitais para o Cinema de Animação Independente” - Daniel Leal Werneck ANIMAÇÃO DE RECORTES...............................................................................................102 ROTOSCOPIA........................................................................................................................105 FORMATOS DE ARQUIVO DE IMAGEM...................................................................................110 ARQUIVOS DE VÍDEO..................................................................................................................125 O SOM DA ANIMAÇÃO................................................................................................................147 SOFTWARES DE ÁUDIO.............................................................................................................. 166 ARQUIVOS DE ÁUDIO................................................................................................................. 167 HARDWARE...................................................................................................................................171 O ANIMADOR INDEPENDENTE E A INTERNET..................................................................... 180 ESTUDO DE CASO: “FITA DE CROMO, CORTINA DE FERRO”............................................188 CONCLUSÃO..................................................................................................................................197 BIBLIOGRAFIA..............................................................................................................................200 7 “Estratégias Digitais para o Cinema de Animação Independente” - Daniel Leal Werneck INTRODUÇÃO "Primeiro eles te ignoram Depois eles riem de você Depois eles lutam contra você E então você vence" Mahatma Gandhi A animação é a forma de arte mais subestimada do mundo. Afirmo isso sem medo de generalismos, baseado em experiência própria. Mesmo as pessoas mais cultas, lidas, escoladas e preocupadas com a arte ignoram a animação como forma de arte. Não vemos filmes de animação na Documenta de Kassel, na Bienal de São Paulo, tampouco em museus ou escolas. Sua existência está, em toda parte, intimamente ligada à produção comercial de mídia. Até mesmo as histórias em quadrinhos recebem mais carinho e respeito do público em geral do que o cinema de animação. O motivo disso tudo é muito simples: ignorância. Quantas pessoas já tiveram a rara oportunidade de assistir a filmes tão obscuros e quase esquecidos pelo tempo como “As Aventuras do Píncipe Achmed”, “Harpya” ou “Begone Dull Care”? Que criança teve a chance de optar entre “Pókemon” e “Moonbird”1? Se essa ignorância temática já é enorme, imaginem então a ignorância técnica. Para o amante médio do cinema de animação, só restam os making ofs dos DVDs de filmes famosos feitos por grandes empresas, que mostram sempre a mesma coisa: estagiários colocando olhos de plástico em bonecos de massinha, animadores usando o Maya, etc. Aquele que, além disso, quiser começar a faZer animação... esse sim, está fadado ao 1 “Die Abenteuer des Prinzen Achmed”, ALE, 1926, dir. Lotte Reiniger & Karl Koch “Harpya”, BEL, 1979, dir. Raoul Servais “Begone Dull Care”, CAN, 1949, dir. Norman McLaren & Evelyn Lambert “Poketto Monsutâ”, JAP, 1997, dir. Masamitsu Hidaka & Kunihiko Yuyama “Moonbird”, EUA, 1959, dir. John & Faith Hubley 8 “Estratégias Digitais para o Cinema de Animação Independente” - Daniel Leal Werneck sofrimento. Privado de qualquer informação, ele logo começa a trilhar um dos dois caminhos disponíveis na Internet: a animação em Flash ou a animação tridimensional. Os mais apressados pegam logo uma versão pirata do Flash e começam a ler tutoriais mal- escritos que ensinam sempre a mesma coisa. O resultado final é sempre o mesmo. Milhares e milhares de filmes absolutamente idênticos e privados de qualquer criatividade. Essa afirmação parece genérica e injusta, mas é bastante branda se comparada com a situação real. Os mais “sérios” decidem aprendem 3D, e entram então em um turbilhão de regras, manuais, tutoriais e discussões infindáveis na Internet,
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