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Portadas Carta UNIVERSIDAD DR. JOSÉ MATÍAS DELGADO RED BIBLIOTECARIA MATÍAS DERECHOS DE PUBLICACIÓN DEL REGLAMENTO DE GRADUACIÓN DE LA UNIVERSIDAD DR. JOSÉ MATÍAS DELGADO Capítulo VI, Art. 46 “Los documentos finales de investigación serán propiedad de la Universidad para fines de divulgación” PUBLICADO BAJO LA LICENCIA CREATIVE COMMONS Reconocimiento-NoComercial-SinObraDerivada 3.0 Unported. http://creativecommons.org/licenses/by-nc-nd/3.0/deed.es_ES “No se permite un uso comercial de la obra original ni la generación de obras derivadas.” Para cualquier otro uso se debe solicitar el permiso a la Universidad [Escribir texto] UNIVERSIDAD DR. JOSÉ MATÍAS DELGADO FACULTAD DE CIENCIAS Y ARTES Escuela de Diseño Rosemarie Vázquez Liévano de Ángel Monografía para especialización Cuadro a cuadro. Guía práctica para la elaboración de animación stop-motion. Presentado por: Andrea Elizabeth Carmona Rincan Para optar al grado de: Licenciada en Diseño Gráco Antiguo Cuscatlán, 25 Junio 2012 UNIVERSIDAD DR. JOSÉ MATÍAS DELGADO FACULTAD DE CIENCIAS Y ARTES Escuela de Diseño Rosemarie Vázquez Liévano de Ángel Monografía para especialización Cuadro a cuadro. Guía práctica para la elaboración de animación stop-motion. Presentado por: Andrea Elizabeth Carmona Rincan Para optar al grado de: Licenciada en Diseño Gráfico Antiguo Cuscatlán, 25 Junio 2012 Para los animadores, son los veinticinco cuadros por segun- do el momento de desorientación. Es el cuadro negro que no se registra para la audiencia y permite al animador ac- tuar tanto como mago y como un asistente glamoroso, pa- rarse en el escenario y ajustar el puppet, arreglar todo antes de retirarse como si no hubiera ocurrido nada. La audiencia no nos ha visto, pero vieron el truco. El puppet se ha movido. Barry Purves Agradecimientos: Un agradecimiento muy especial a mis padres por estar ahí, apoyarme, ayudarme a borrar las comas, asesorar mis de- sordenados pensamientos y escucharme durante mi trave- sía por el stop-motion hasta dejarlos empachados de ella. A Victor González, que al calor de un café me asesoró du- rante la investigación, dándome los tips que me hacían fal- ta para lograr los resultados obtenidos. A mis entrevistados que me dedicaron tiempo y sabiduría para poder compartirla, independientemente del tiempo o la distancia, Ferran Caum, Nick Hillignos, Sven Bonnichsen, Shelly Noble y Sihanouk Mariona. A mis demás asesores, acompañantes, guías y amigos que no pusieron reparos en darme una mano o un hombro en la investigación, especialmente al Lic Jorge Colorado, Ne- lly Guevara, Paola Navarrete, Gloria Guandique, Marcela Orellana, Revital Guardado y Robinson Marroquín. Índice Introducción i Capítulo 1. Planteamiento del problema 10 1.1. Título de la investigación 12 1.2. Objetivos 12 1.3. Enunciado 13 1.4. Justificación 13 1.5. Delimitación 15 1.6 Alcances 16 1.7. Limitantes 16 1.8. Antecedentes 17 1.9. Metodología 18 1.9.1. Cronograma 18 1.9.2. Fase 1 (Del 20 de febrero al 23 de marzo) 18 1.9.3. Fase 2 (Del 23 de marzo al 13 de abril) 18 1.9.4. Fase 3(Del 13 al 30 de abril) 18 1.9.4.1 Ferran Caum 18 1.9.4.2 Sven Bonichsen 19 1.9.4.3 Nick Hilligoss 19 1.9.4.4 Shelley Noble 19 1.9.4.5 Sihanouk Mariona 19 1.9.4. Fase 4 (Del 30 de abril al 4 de mayo) 20 1.9.5. Fase 5 (Del 4 al 10 de mayo) 20 1.9.7. Fase 7 (Del 10 al 25 de mayo) 21 Capítulo 2. Marco Teórico 22 Capítulo 2.1: Marco Referencial 24 2.1.1. Guía Didáctica 24 2.1.2. Animación 25 2.1.3. Stop-motion 25 2.1.4. Pre Producción 26 2.1.4.1. Guión 26 2.1.4.1.1. Premisa o storyline 27 2.1.4.1.2. Sinópsis 27 2.1.4.2. Storyboard 28 2.1.4.2.1. Storyboard animado o Cinematic 28 2.1.4.3. Equipo de un animador 29 2.1.4.4. Puppets 30 2.1.4.4.1. Creación del personaje 30 2.1.4.4.2. El Esqueleto 31 2.1.4.4.3. La piel del personaje 31 2.1.4.5. Escenario 32 2.1.5. Producción 32 2.1.5.1. Estudio del movimiento 33 2.1.5.2. Audio 34 2.1.5.3. Movimientos de cámara, encuadres e iluminación. 35 2.1.5.4. Efectos especiales 36 2.1.5.4.1. Para flotar, volar o saltar. 36 2.1.5.4.2. Fuego 37 2.1.5.4.3. Agua 37 2.1.5.4.4. Humo / Niebla 38 2.1.5.4.5. Viento 38 2.1.6. Post Producción 38 2.1.6.1. Post producción y efectos digitales 38 2.1.6.2. Edición de video 39 2.1.6.3. Títulos, créditos y exportación. 39 2.1.7. Tipos de animación stop-motion 40 2.1.7.1. Puppet Animation 40 2.1.7.2. Dynanimation 40 2.1.7.3. Claymation 40 2.1.7.4. Sand Animation 41 2.1.7.5. Cut outs 41 2.1.7.6. Light Animation 41 2.1.7.7. Go Motion 41 Capitulo 2.2. Marco Histórico 42 2.2.1. Creación del cine 43 2.2.2. Historia del Stop-motion en el cine. 43 2.2.2.1. George Méliès y las primeras décadas de stop-motion. 44 2.2.2.3. Willis O’Brien define una nueva generación para la animación. 46 2.2.2.4. Ray Harryhausen “Dynanimation” 50 2.2.2.5. El Claymation de Art Clokey 52 2.2.2.6. Más protagonistas de la historia. 53 2.2.2.7. Aardman Animation 58 2.2.2.8. Siglo XXI 59 Capítulo 3. Cuadro a Cuadro. Guía práctica para la elaboración de animación stop-motion. 62 Capítulo 4. Conclusiones 72 4.1. Validación de la guía 74 4.2. Conclusiones y recomendaciones. 82 4.3. Glosario 84 4.4. Bibliografía 86 i Introducción: El stop-motion es una técnica de animación cuyas limita- ciones la enriquecen, cada personaje, escenario o detalle dentro del mismo es real. Personas con mucha delicadeza han ido creando cada uno de los elementos que maravi- llan al espectador, cada movimiento de los personajes im- plica un par de manos, alguien realizando el trabajo. Ahí empieza la maravilla del stop-motion, motivo por el cual se diferencia de la animación tradicional. TODOS LOS ELEMENTOS EXISTEN. La presente investigación se ha desarrollado en torno al stop-motion. Cómo hacer que éstos elementos existan y como emplearlos adecuadamente en una animación, está orientada a diseñadores o animadores novatos que estén interesados en la técnica y tengan conocimientos básicos del uso de las herramientas necesarias. En la primera parte se desarrolla la descripción del pro- blema y los objetivos de la investigación que apoyan éste proyecto de investigación. Dentro del marco teórico, basándose en las tres grandes etapas de una video producción, se han desarrollado los conceptos básicos de la técnica con el objetivo de gene- rar una guía que facilite la información de por sí escasa en el medio. En la etapa de la pre-producción, se desarrollaron todos los conceptos necesarios que un animador debe tomar en cuenta antes de iniciar su animación. Desde el origen de la idea hasta diferentes opciones de cómo desarro- llar el personaje o el escenario forman parte de su con- tenido. Para la producción, el momento clave en el cual se anima al personaje en su escenario, se han facilitado los conceptos de encuadres, iluminación, técnicas cine- ii matográficas simples y efectos especiales que se realizan durante la captura de los cuadros. Respecto a la post-pro- ducción, cuando las imágenes se vuelven escenas y las es- cenas forman el film, se han manejado propuestas de efec- tos especiales que se pueden realizar con los programas de edición, los puntos a tomar en cuenta durante la edición final y la exportación del proyecto final. A esta parte del “cómo se hace” le sigue la parte de “for- mas para hacerlo”, es decir, técnicas variadas que mane- jando el concepto básico del stop-motion, emplean otro tipo de elementos en su set para crear el producto final ya sea puppets, plastilina, recortes, arena, personas, etc. Y finalmente, pero no menos importante, se desarrolló un resumen sobre la historia del stop-motion en la industria cinematográfica desde el origen del cine con los herma- nos Lumière hasta el estado actual. A través de las redes sociales de video que a nivel mundial se ha facilitado la distribución de las producciones de cualquier animador in- dependiente para enriquecer nuestro conocimiento. Al marco teórico le sigue el producto, la guía de cómo ha- cer stop-motion, que emplea la información obtenida en el marco teórico, se enriquece con las entrevistas realizadas a cinco animadores que comparten su experiencia con el stop-motion y se fortalece con una investigación de campo sobre los materiales disponibles en el mercado salvadoreño que resultan útiles para el desarrollo de esqueletos para los personajes. Dado que la guía está diseñada para ser distribuida tanto en formato impreso como digital, en esta sección se encuentran imágenes de las páginas principales y un CD con la versión digital. Como capítulo final se encuentran las conclusiones, reco- mendaciones y la bibliografía, donde se resumen los resul- tados obtenidos en esta etapa de investigación, desarro- llada en el primer semestre del año 2012. Storyboard de Nightmare Before Christmas (1993) Tomado de: media.liveauctiongroup.net Capítulo 1: Planteamiento del problema 11 CAPÍTULO 1 Planteamiento del problema 12 Capítulo 1: Planteamiento del problema 1.1.
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