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Vpliv Filma Na Vizualno Podobo Video Iger

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Vpliv Filma Na Vizualno Podobo Video Iger Igor Čož VPLIV FILMA NA VIZUALNO PODOBO VIDEO IGER Diplomsko delo Maribor, marec 2015 VPLIV FILMA NA VIZUALNO PODOBO VIDEO IGER Diplomsko delo Študent: Igor Čož Študijski program: Univerzitetni študijski program Medijske komunikacije Smer: Medijska produkcija Mentorica: doc. dr. Melita Zajc, univ. dipl. novinar Lektorica: Maja Antosiewicz Škraba, univ. dipl. slov. i ZAHVALA Zahvaljujem se mentorici doc. dr. Meliti Zajc za vodenje pri pisanju diplomskega dela, prav tako se zahvaljujem staršem, ki so mi omogočili študij. Zahvaljujem se tudi prijateljem, ki so me tekom študija podpirali. ii Vpliv filma na vizualno podobo video iger Ključne besede: film, video igre, filmski jezik. UDK: 7.038.53:791(043.2) Povzetek V diplomskem delu so bili analizirani ključni elementi filmskega jezika in primerjani z vizualno podobo video iger. Predstavljene so bile osnove pripovedovanja, filmske fotografije, montaže, zvoka in filmske glasbe ter analizirane na podlagi video iger. Potrjeno je, da novejše video igre uporabljajo vizualno podobo filma in ga postopoma nadgrajujejo kot polnejša zabavna izkušnja, saj uporabljajo vizualne in pripovedovalne veščine, značilne predvsem za filmski medij. iii Influence of film on the visual look of video games Key words: film, video games, film language. UDK: 7.038.53:791(043.2) Abstract The diploma thesis analyses the key elements of film language and applies them to the visual look of video games. It presents the basics of narrative, cinematography, editing, sound and film music and analyses their use in video games. It is confirmed that newer video games rely more and more on the filmic visual style to make the story and characters more engaging. Consequently video games are complimenting the experience of watching a film and are slowly building upon it as a more engaging entertainment. iv KAZALO 1. UVOD ............................................................................................................................. 1 1.1. Namen in metodologija diplomske naloge ................................................................ 1 2. FILM ............................................................................................................................... 2 3. ELEMENTI FILMSKEGA JEZIKA ................................................................................... 3 3.1. Pripovedovanje ........................................................................................................ 3 3.1.1. Lik ..................................................................................................................... 6 3.1.2. Analiza primera ................................................................................................. 7 3.2. Filmska fotografija.................................................................................................... 9 3.2.1. Kompozicija ...................................................................................................... 9 3.2.2. Filmski plani .................................................................................................... 12 3.2.3. Kot snemanja.................................................................................................. 13 3.2.4. Razmerje med stranicama - format ................................................................. 14 3.2.5. Analiza primerov ............................................................................................. 15 3.3. Montaža ................................................................................................................. 17 2.2.1. Analiza primerov ............................................................................................. 20 3.4. Zvok ...................................................................................................................... 21 3.4.1. Foley .............................................................................................................. 23 3.4.2. Analiza primerov ............................................................................................. 24 3.5. Glasba ................................................................................................................... 25 3.5.1. Analiza primerov ............................................................................................. 28 4. SKLEP ............................................................................................................................. 30 5. LITERATURA .................................................................................................................. 31 v KAZALO SLIK Slika 1: Primer kompozicije trikotnika, obrnjenega s konico navzdol ................................11 Slika 2: Primer teže v sliki ................................................................................................11 Slika 3: Filmski plani ........................................................................................................12 Slika 4: Najpogosteje uporabljeni formati .........................................................................14 Slika 5: Kader iz filma Lawrence of Arabia v širokem formatu in v formatu 4 : 3 ...............14 Slika 6: Kader srednje bližnjega plana iz video igre The Last of Us..................................15 Slika 7: Kader splošnega in kader srednjega plana iz video igre Beyond: Two Souls ......15 Slika 8: Kader velikega plana in kader detajl iz video igre Beyond: Two Souls .................16 Slika 9: Scena pri telefonski govorilnici iz video igre Beyond: Two Souls .........................16 Slika 10: Kadra iz video igre Mafia: The City of Lost Heaven v formatih 4 : 3 in 16 : 9 .....17 Slika 11: Primer montaže po soseščini s kadri iz video igre Beyond: Two Souls ..............21 vi 1. UVOD Minilo je že dobro stoletje, odkar je našo družbo obogatel prihod premikajočih se slik oziroma filma. Popolno enostaven koncept hitre menjave fotografij je odprl novo okno možnosti izražanja v enaki pomembnosti, kakršnega je dosegla sama fotografija desetletja pred njim. Nova umetniška smer je združila vrsto umetnikov s svojih specifičnih področji, ustvarila pa je tudi nekaj novih. Slikarji, fotografi, kostumografi, oblikovalci, glasbeniki in skladatelji so se pridružili ustvarjanju filmov in s tem ustvarili tako skupno kot tudi vizualno zvočno podobo medija (sredstvo, pripomoček ali nosilec), ki mu pravimo film. Filmska umetnost, ki je tako ali drugače zasidrana v vsakem izmed nas, je slabo stoletje po svojem prihodu dobila nov hibrid v obliki video iger. Te so iz slabih dvodimenzionalnih grafik v razmeroma kratkem času napredovale v velike tridimenzionalne svetove, polne detajlov, in poskrbele, da gledalci niso več pasivni opazovalci izza okna, temveč aktivni igralci v popolnem nadzoru izkušnje. Novejše video igre tako postopoma nadgrajujejo film kot polnejša, zabavna izkušnja. 1.1. Namen in metodologija diplomskega dela Namen diplomskega dela je proučiti filmski jezik v video igrah in dokazati, da je obstoj filma kot umetnosti v veliki meri pripomogel k vizualni podobi video iger, kot jih poznamo danes. Skozi delo nas je vodila hipoteza, da novejše video igre temeljijo na filmskem jeziku in se trudijo približati filmu kot umetnosti. Najprej smo proučili sekundarne vire o posameznem elementu zahodnega filma, nato pa naredili analizo primarnih virov (video iger). Proučili sem video igre The Last of Us (2013, Naughty Dog), Beyond: Two Souls (2013, Quantic Dream) in Assassin's Creed IV: Black Flag (2013, Ubisoft Montreal). V diplomskem delu smo raziskali elemente filmskega jezika, jih razčlenili in opisali v posameznih poglavjih. Posamezne elemente smo na primeru video iger analizirali in jih primerjali z uporabo v filmih. 1 2. FILM S pojmom film lahko poimenujemo iluzijo več nepremičnih fotografij, ki pred nami ustvarijo gibanje. Pred našimi očmi se več fotografij skupaj izmenjuje s tolikšno hitrostjo, da vmesnih trenutkov ne zaznamo in tako doživimo iluzijo neprekinjenega gibanja. V začetnem obdobju filma pa se je beseda nanašala na približno petintrideset milimetrov širok in več metrov dolg transparenten trak, prevlečen z na svetlobo občutljivo snovjo, na katero so bile zajete fotografije. Iluzijo je omogočil kinoprojektor, pri katerem je trak potoval z enega koluta na drugega, medtem ko je skozi njega sijala svetloba in projicirala vsebino na platno. Za učinkovito delovanje iluzije je poskrbel zaklop (mehanizem za določanje trajanja osvetlitve filma), ki je vsako sekundo prikazal od petnajst do štiriindvajset fotografij. Najširše uporabljen pomen besede film se nanaša predvsem na umetniško delo, ustvarjeno iz posameznih fotografij, zajetih na tem traku. Film se velikokrat opredeljuje kot sedma umetnost, saj učinkovito združuje statične umetnosti, kot so arhitektura, skulptura in slikanje, s časovno omejenimi umetnostmi, kot so ples, glasba in poezija. Novo izkušnjo, sestavljeno iz več umetnosti, je podprl razvoj novih pravil ustvarjanja, ki so se deloma prenesla iz drugih umetnosti in se sprva določala intuitivno. Ob ugotovitvi njihovega delovanja so se ta zapisala v obliki slovnice filmskega jezika, ki ga lahko beremo tako vizualno kakor tudi slušno in ga posledično vedno razumemo v podobni obliki. Filmski jezik se nanaša na branje oz. razumevanje vizualnega, slušnega in pripovedovalnega doživetja, ki mu pravimo gledanje filma. Tega lahko ustvarimo s fotografiranjem prostorov ali miniatur, risanjem zaporednih slik, uporabo računalniških programov ali z uporabo vseh naštetih tehnik skupaj s posebnimi efekti. V nadaljevanju smo predstavili
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