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Evolución De Los Efectos Visuales En La Historia Del Cine Y Su Influencia Sobre La Industria Del Video Musical

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Evolución De Los Efectos Visuales En La Historia Del Cine Y Su Influencia Sobre La Industria Del Video Musical UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE CIENCIAS INFORMACIÓN Departamento de Comunicación Audiovisual y Publicidad I TESIS DOCTORAL Evolución de los efectos visuales en la historia del cine y su influencia sobre la industria del video musical MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR Sergio Martínez Sánchez Director Alberto Luis García García Madrid, 2018 © Sergio Martínez Sánchez, 2017 UNIVERSIDAD COMPLUTENSE DE MADRID FACULTAD DE CIENCIAS DE LA INFORMACIÓN Departamento de Comunicación Audiovisual y Publicidad 1 Evolución de los efectos visuales en la historia del cine y su influencia sobre la industria del video musical MEMORIA PARA OPTAR AL GRADO DE DOCTOR PRESENTADA POR Sergio Martínez Sánchez Bajo la dirección del doctor Alberto Luis García García Madrid, 2017 Evolución de los efectos visuales en la historia del cine y su influencia sobre la industria del video musical Agradecimientos Aún recuerdo como si fuese ayer la primera vez que vi Tron (1982). Era el año 1988 y aunque sólo tenía seis años, aquellas espectaculares carreras de motocicletas digitales se grabaron a fuego en mi mente, al igual que pocos años después las increíbles metamorfosis del androide T-1000 en Terminator 2 (1991), los amenazantes rugidos del Tyrannosaurus rex de Jurassic Park (1993) o las asombrosas transformaciones del videoclip Black or White (1991). La atracción y devoción que he sentido desde siempre hacia los efectos visuales ha sido el principal motivo para el desarrollo esta tesis, por lo que en primer lugar me gustaría darles las gracias a todos los profesionales de la industria cinematográfica y del video musical que con su trabajo han contribuido a la espectacular evolución que los efectos visuales han tenido durante las últimas décadas. En segundo lugar, agradecer a mi director de tesis, Alberto Luis García García, el gran apoyo y conocimiento que me ha ofrecido durante los últimos años. Su dilatada experiencia en la postproducción de video y su afición por los efectos visuales (y el Real Madrid) ha facilitado enormemente el desarrollo de esta tesis. También quiero darles las gracias a todos aquellos amigos con los que he compartido pasión por el cine, por los videoclips, por la música y por cómo nos han hecho sentir, vibrar y disfrutar a lo largo de los años. Gracias a mis abuelos por ser una parte fundamental de mi vida. Agradecer a mis abuelos Valentina y Gregorio todo su cariño y los ánimos que me han dado desde siempre. Al igual que a mis abuelos Gabriela y Sabino, de quienes sigo sintiendo su amor y apoyo día a día, aunque ya no podamos vernos. Agradecer también al resto de mis familiares su afecto y los buenos momentos vividos con todos ellos. Y, por último, gracias a mi familia, a mi hermano Eduardo y a mis padres, Carlos y Felisa, por la infinita ayuda y cariño que he recibido de ellos en cada instante desde hace treinta y cuatro años. Gracias a mi hermano Eduardo, por ser además de mi hermano mi amigo, y por compartir conmigo risas, llantos, buenos y malos momentos, ilusiones, sueños y horas y horas de películas, videoclips y documentales de Anunnakis y conspiraciones. Agradecerle también su comprensión y paciencia durante estos años de doctorado y recordarle que, ahora sí, Nibiru está más cerca que nunca. Agradecer a mi padre Carlos que haya sido siempre un ejemplo de constancia, de perseverancia y de tenacidad, mostrándome el camino para ser doctor y animándome cada día para conseguir finalizar no sólo la tesis, sino cualquier objetivo que mi hermano y yo nos hemos planteado. Gracias por querernos y respaldarnos como haces a diario. Y por supuesto, gracias por descubrirnos a Clint Eastwood, a Charles Bronson y, cómo no, a Steven Spielberg. Gracias a mi madre Felisa, por haberme dado la vida y por haberme permitido alcanzar las metas que siempre me he propuesto. Gracias por todo tu amor, por cómo nos has querido y por cómo nos sigues queriendo. Sin los masajes, sin los tupper de lentejas y sin que me mandases reiki y energía nunca podría haber acabado la tesis. A todos, mi más sincero agradecimiento. 2 Evolución de los efectos visuales en la historia del cine y su influencia sobre la industria del video musical INDICES DE CONTENIDO, TABLAS Y FIGURAS 3 Evolución de los efectos visuales en la historia del cine y su influencia sobre la industria del video musical Indexación de tablas y figuras Índice de Tablas ....................................................................................................................... 6 Índice de Figuras ...................................................................................................................... 8 Abstract ...................................................................................................................................... 18 Resumen .................................................................................................................................... 21 Capítulo 1. Evolución de los efectos visuales en la historia del cine y su influencia sobre la industria del video musical 1.1 Introducción ...................................................................................................................... 25 1.2 Justificación ....................................................................................................................... 32 1.3 Hipótesis ............................................................................................................................ 34 1.4 Objeto ................................................................................................................................ 35 1.5 Objetivos ........................................................................................................................... 35 1.6 Metodología ...................................................................................................................... 36 Capítulo 2. De George Méliès, Willis O´Brien y Ray Harryhausen a ILM, Pixar y Weta. Historia de los efectos visuales en el cine 2.1 De la prehistoria cinematográfica a George Méliès ......................................................... 45 2.2 What Price glory? y la primera aparición en créditos ...................................................... 52 2.3 Llegada del color y de los sistemas panorámicos ............................................................. 54 2.4 2001: A Space Odissey. El realismo es la clave ................................................................. 56 2.5 George Lucas y Steven Spielberg transforman la industria cinematográfica ................... 57 2.6 Terminator 2 y Jurassic Park. Comienza la revolución digital .......................................... 60 2.7 Los efectos digitales en el nuevo milenio ......................................................................... 62 Capítulo 3. Videos musicales y efectos visuales, una relación simbiótica 3.1 Construcción del lenguaje audiovisual en el video musical .............................................. 67 3.2 El videoclip, la ruptura de la lógica audiovisual ................................................................ 69 3.3 Explicando la ausencia de narrativa en el video musical .................................................. 69 Capítulo 4. Evolución e influencia de los efectos visuales en la industria cinematográfica y del videoclip 4.1 CGI ..................................................................................................................................... 75 4.1.1 Conclusiones .......................................................................................................... 93 4 Evolución de los efectos visuales en la historia del cine y su influencia sobre la industria del video musical 4.2 Motion control ................................................................................................................... 94 4.2.1 Conclusiones ........................................................................................................ 111 4.3 Morphing ......................................................................................................................... 113 4.3.1 Conclusiones ........................................................................................................ 129 4.4 Rotoscopia ....................................................................................................................... 131 4.4.1 Conclusiones ........................................................................................................ 153 4.5 Motion capture ................................................................................................................ 154 4.5.1 Conclusiones ........................................................................................................ 176 4.6 Composición .................................................................................................................... 179 4.6.1 Conclusiones ........................................................................................................ 197 4.7 Slow motion ..................................................................................................................... 198 4.7.1 Conclusiones ........................................................................................................ 209 Capítulo 5. Estudio y análisis económico ................................................................................. 211 Capítulo 6. Análisis de datos ...................................................................................................
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