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2. Landasan Teori Dan Identifikasi Data 2. LANDASAN TEORI DAN IDENTIFIKASI DATA 2.1. Studi Literatur 2.1.1.Prinsip Animasi Sebuah animasi pada dasarnya tidak terlepas dari motion atau pergerakan, oleh karena itu sejumlah prinsip-prinsip animasi telah diciptakan sebagai panduan untuk menghasilkan gerakan yang terlihat nyata. Prinsip animasi tersebut dapat berbeda dari satu sumber ke sumber lainnya, namun kurang lebih memiliki dasar yang sama. Pergerakan yang efektif sama pentingnya seperti elemen desain lain dalam menentukan kesuksesan sebuah animasi. Anda dapat menerima animasi sebuah obyek tak nyata atau fantasi seperti binatang yang berbicara karena mereka bergerak seolah hidup. Anda juga pernah melihat animasi dimana subyeknya dimodel secara detil dan dirender hingga menyakitkan namun untuk suatu alasan tidak dapat menarik perhatian Anda. Sebuah analisis tentang ketidaksuksesan animasi biasanya mengungkapkan terlalu sedikit pergerakan atau pergerakan yang tidak seolah hidup. Dengan kata lain imajinasi anda seringkali secara diam-diam melengkapi detil kosong dalam sebuah model, namun tidak mentoleransi gerakan yang kasar dan tidak realistik (Elliot 116) Berikut ini adalah ketujuh prinsip animasi: 1. Anticipation (Antisipasi) Antisipasi adalah gerakan pendahulu sebelum gerakan utama dan digunakan untuk mensimulasikan gerakan nyata. Sebelum sebuah figur meloncat, dia harus menekuk lutut dan mengayunkan lengan untuk keseimbangan. Kegunaan lain dari antisipasi adalah menyiapkan audiens menghadapi apa yang akan terjadi atau mengarahkan perhatian mereka menuju sesuatu yang akan terjadi. Apabila sebuah tali akan putus karena beban berat, aksinya akan seketika dan tanpa peringatan, namun realisme seperti ini mengakibatkan audiens kehilangan momen putusnya tali. Solusi tradisional pada scenario ini adalah dengan menggunakan kasus ekstrim antisipasi. Sebuah close up tali menunjukkan 9 Universitas Kristen Petra 10 peregangan, beberapa benang putus, barulah tali benar-benar putus. Tentu saja dalam kehidupan nyata tali tidak putus dengan cara demikian. 2. Squash and Stretch ( Penggepengan dan Peregangan) Jenis material sebuah objek dapat ditegaskan melalui prinsip squash and stretch. Sebuah bola bowling dan sebuah bola karet memantul dengan cara berbeda. Bola bowling yang berat dan keras memantul sedikit sekali dan sama sekali tidak terdeformasi ketika menyentuh tanah seperti digambarkan pada gambar 2.1. Bola karet, disisi lain jauh lebih lembut dan ringan sehingga lebih terdeformasi daripada bola bowling dan memantul lebih tinggi seperti digambarkan pada gambar 2.2. Gambar 2.1. Bola bowling memantul pada tanah Sumber: Elliot, Steven. D, Inside 3D Studio Release 3. 1993 Gambar 2.2. Bola karet memantul pada tanah Sumber: Elliot, Steven. D, Inside 3D Studio Release 3. 1993 Universitas Kristen Petra 11 3. Overlapping Action (Aksi yang Saling Bertumpuk) Konsep overlapping action ialah tidak segala hal terjadi bersamaan. Contoh overlapping action terjadi pada crash dummies (boneka percobaan) dalam mobil yang ditabrakkan ke tembok. Pada titik tumbuk, impact tidak mengenai semua obyek dalam mobil secara bersamaan. Yang sesungguhnya terjadi, beberapa frame pertama setelah tumbukan, bagian depan mobil remuk hingga ke ban depan, namun interior mobil dan boneka belum bergerak. Situasi berubah drastis beberapa frame ke depan saat boneka terhempas ke depan melawan sabuk pengamannya, kaca mobil pecah, dan seterusnya. Semua aksi ini akibat satu event yaitu tabrakan, namun setiap aksi diawali pada waktu yang berbeda (dan diakhiri pada waktu yang berbeda pula - lihat follow through). 4. Follow-Through (Gerakan Lanjutan) Follow-through adalah pendamping overlapping action dimana sebuah aksi hampir tidak pernah berhenti tiba-tiba. Melainkan inertia membawa obyek melewati titik perhentian, seringkali menyebabkan obyek berubah arah dan mundur ke titik perhentian yang diinginkan. 5. Staging (Penempatan bidang) Staging sesungguhnya lebih banyak mengenai komposisi daripada pergerakan. Gagasan dibalik staging adalah bahwa objek bergerak harus diposisikan sedemikian rupa hingga obyek tersebut dapat dideteksi dengan cepat dan mudah dimengerti. Digambarkan pada gambar 2.3 dan gambar 2.4, objek berbentuk siluet. Apabila aksi terjadi dalam siluet obyek lain, aksi tersebut sulit dideteksi, namun apabila sudutnya dirubah, dimana aksi tersebut tidak tertutup obyek lain, ia akan lebih menonjol. Bandingkan gambar 2.3 dan gambar 2.4. Adegan di gambar kedua lebih mudah untuk dipahami baik hasil render maupun tampak siluet. Satu- satunya perbedaan adalah aksi diposisikan di samping lengan robot. Universitas Kristen Petra 12 Gambar 2.3. Hasil render dan siluet tangan robot Sumber: Elliot, Steven. D, Inside 3D Studio Release 3. 1993 Gambar 2.4. Lengan robot yang terlihat lebih jelas Sumber: Elliot, Steven. D, Inside 3D Studio Release 3. 1993 6. Exaggerated Motion (Gerakan Berlebihan) Seringkali sebuah gerakan atau efek harus dilebihkan untuk memastikan audiens menangkapnya. Dengan ketentuan bahwa exaggeration (pelebihan) tersebut tidak menganggu animasi atau membuatnya jadi tidak valid. Contoh dari pelebihan dapat dilihat pada drama, dimana ekspresi wajah lebih terlihat daripada kehidupan nyata. Pelebihan tidak menyimpang dari realitas, bahkan menambah menambah realitas dengan memastikan audiens menangkap apa yang terjadi. 7. Secondary Action (Aksi Sekunder ) Aksi sekunder merupakan sebuah kejadian sebagai hasil dari aksi lain. Bayangkan animasi tentang bola basket memantul dari ring basket. Ring basket Universitas Kristen Petra 13 membengkok akibat gaya dari pantulan. Pembengkokan ring basket adalah aksi sekunder dan ketiadaannya membuat animasi tampak palsu dan mekanis. Gambar 2.5. Pembengkokan ring basket Sumber: Elliot, Steven. D, Inside 3D Studio Release 3. 1993 Selain ketujuh prinsip animasi terdapat studi tentang pergerakan manusia yang layak dicantumkan disini, karena apabila melihat dari sumber lain, maka kedua prinsip tentang pergerakan manusia ini termasuk dalam prinsip animasi. Exaggerated effect atau efek pelebihan pada pergerakan manusia perlu diperlakukan lebih hati-hati dibandingkan dengan pergerakan pada hewan atau benda mati. Audiens yang tentu manusia akan lebih sadar tentang bagaimana tubuh mereka sendiri bergerak, karenanya mereka lebih tidak toleran akan kesalahan gerak. (Elliot 125) Berikut adalah dua prinsip tentang pergerakan manusia: 1. Balance (Keseimbangan) Dengan perkecualian adegan jatuh, tubuh selau seimbang. Apabila tangan kanan dijulurkan, maka tangan kiri, bahu, dan dada semuanya berputar dan mundur ke belakang. Demikian juga, hanya sedikit orang yang berdiri tegak sempurna. Melainkan mereka menggeser titik berat ke salah satu kaki, mengakibatkan pinggul dan dada berputar saat mereka menopang berat pada satu kaki. Kaki lainnya menopang sedikit beban dan bertindak sebagai penyeimbang. Universitas Kristen Petra 14 Berjalan dan berlari merupakan kasus khusus dari jatuh. Saat berjalan, manusia secara konstan mengulangi proses dari jatuh ke depan, mengembalikan keseimbangan, dan jatuh ke depan lagi. Berlari menggunakan prinsip yang sama. 2. Curved Motion (Gerakan Melengkung) Tak ada garis lurus eksis secara natural. Pernyataan ini juga berlaku untuk gerakan yang alami. Lihat gambar 2.6 dan gambar 2.7 untuk contoh kepala menoleh. Banyak orang membuat kesalahan seperti gambar 2.6. Gambar 2.7 mendemonstrasikan gerakan kepala yang lebih realistis. Gambar 2.6. Gerakan kepala tidak natural. Sumber: Elliot, Steven. D, Inside 3D Studio Release 3. 1993 Gambar 2.7. Gerakan kepala natural Sumber: Elliot, Steven. D, Inside 3D Studio Release 3. 1993 Seperti telah disebutkan pertama kali. Terdapat banyak versi mengenai prinsip animasi. Umumnya versi-versi tersebut memiliki perbedaan namun hampir sama. Selain ke tujuh prinsip animasi dan dua prinsip pergerakan manusia menurut Steven D. Elliot diatas, terdapat pula dua belas prinsip animasi Disney yang Universitas Kristen Petra 15 dirumuskan oleh Frank Thomas dan Ollie Johnston (Johnston, Ollie, “Animation Notes by Disney Animator”.). Kedua belas prinsip tersebut adalah: 1. Squash and Stretch 2. Timing 3. Anticipation 4. Staging 5. Follow Through& Overlapping Action 6. Straight Ahead Action & Pose to Pose Action 7. Slow in and Out 8. Arcs 9. Exaggeration 10. Secondary Action 11. Appeal 12. Personality 2.1.2. Dramatic Plot (Alur Cerita) Plot menurut Harymawan ialah alur atau rangka cerita. Aristoteles, dalam karyanya Poetics mengungkapkan teori klasik mengenai dramatic plot yang masih dipakai hingga kini, bahkan telah menjadi semacam standar baku dalam drama dan diadaptasi dalam bentuk modern oleh ahli-ahli lain. (Harymawan 18-20) Aristoteles (klasik) Gustav Freytag (modern) I. Protasis (1) Exposition II. Epitasio (2) Complication III. Catastasis (3) Climax (3A) Resolution IV. Catastrophe (4) Conclusion (4A) Catastrophe (4B) Denouement Universitas Kristen Petra 16 (III) Catastasis (3) Climax (III) Epitasio (2) Complication (3A) Resolution (I) Protasis (4A) Catastrophe (IV) Catasrophe (1) Exposition (4) Conclusion (4B) Denouement Gambar 2.8 piramida dramatic action ( Gustav Freytag: 1816-1895) Keterangan: Aristoteles I. Protasis: permulaan, dijelaskan peran dan motif lakon II. Epitasio: jalinan kejadian III. Catastasis: titik puncak cerita. IV. Catastrophe: penutupan Gustav Freytag 1. Exposition: pelukisan 2. Complication: timbulnya kerumitan/komplikasi 3. Climax: titik puncak cerita 3A. Resolution: penguraian, mulai tergambar rahasia motif 4. Conclution: kesimpulan 4A. Catastrophe: bencana 4B. Denouement: penyelesaian yang baik (happy ending) Universitas
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