What differences can you see in the two animations?
King kong was filmed in black and white, in king kong they use a female actress you see her in 0.02 seconds and then through out the clip. In creature conforts its filmed in colour and they have used play for the animals. Creature conforts is more smooth on how they move the animals. The sound on King Kong the sound isn't synced.
What similarities does the two have?
The two animations have Animals in the stop motion.
They use wide shots( SAME POINT OF VIEW ) Creature conforts(0.21)
King Kong(1.13)
Can you tell there has been development in the skills and techniques of animation.
Yes, some of the animation out today are more creative and sets are more realistic. The technology has helped this process.
What genre is the animation and what generic conventions (things you expect to see) can you pull out?
The genre of the animation is Crime and action. It had guns,knifes,police,fight scenes and special effects of blood.
What do you notice about the movement of the figures body?
Walking was un natural 'shuffle'. Its broken the principles of animation(arcs) .
Shot-and fly backwards- they have used the principle of gravity to keep the realism
What do you notice about the movement of the figures face and facial expression?
Sweat- shows emotion-fears-effect on audience understands that there danger.
What comments on sound can you give?
Sfx- Gun shots.
Non diagetic sound.
sfx- of stabbing.
Dialogue - scream.
Sfx- explosion.
Tangled - Animation pull out timecodes for arcs,overlapping/ follow through.
https://www.youtube.com/watch?v=D0HFaG-5DSE
at ( 0.06 ) The lizards movement is smooth and fluent.
At ( 0.34 ) we see follow through where the character stops running but his arms are moving.
Cravendale-
https://www.youtube.com/watch?v=_NGabt5IHBg
At ( 0.03 ) the characters movement is very jumpy and fast.
ZOETROPE.
A zoetrope is one of several pre-cinema animation devices that produce the illusion of motion by displaying a sequence of drawings or photographs showing progressive phases of that motion. The name zoetrope was composed from the Greek root words ζωή zoe, "life" and τρόπος tropos, "turning".
The zoetrope consists of a cylinder with slits cut vertically in the sides. On the inner surface of the cylinder is a band with images from a set of sequenced pictures. As the cylinder spins, the user looks through the slits at the pictures across. The scanning of the slits keeps the pictures from simply blurring together, and the user sees a rapid succession of images, producing the illusion of motion. From the late 20th century, devices working on similar principles have been developed, named analogously as linear zoetropes and 3D zoetropes, with traditional zoetropes referred to as "cylindrical zoetropes" if distinction is needed.
Throughout its thirty-year history American Zoetrope has sought new creative possibilities in technology. We continue to produce films and offer post-production services from our headquarters, the historic Sentinel Building in San Francisco's North Beach. And we continue to explore the creative possibilities of new technology.
Within this website is one such experiment, the Zoetrope Virtual Studio, a complete motion picture production studio on the Web. It offers powerful collaborative tools for writers, directors, producers and other film artists. It also includes a number of film-related discussion sections and chat rooms. Join the Virtual Studio.
Praxinoscope
The praxinoscope was an animationdevice, the successor to the zoetrope. It was invented in France in 1877 byCharles-Émile Reynaud. Like the zoetrope, it used a strip of pictures placed around the inner surface of a spinning cylinder. The praxinoscope improved on the zoetrope by replacing its narrow viewing slits with an inner circle of mirrors, placed so that the reflections of the pictures appeared more or less stationary in position as the wheel turned. Someone looking in the mirrors would therefore see a rapid succession of images producing the illusion of motion, with a brighter and less distorted picture than the zoetrope offered.
In 1889 Reynaud developed the Théâtre Optique, an improved version capable of projecting images on a screen from a longer roll of pictures. This allowed him to show hand-drawn animated cartoonsto larger audiences, but it was soon eclipsed in popularity by the photographic film projector of theLumière brothers.
This is an example of what the praxinoscope looks like
praxinoscope
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The Praxinoscope, invented in 1877 by the Frenchman, Emile Reynaud (1844-1918), is a precursor of the moving picture. Here, a band of pictures, each slightly different from its neighbor, is placed inside a rotating drum, quite similar to the arrangement of pictures in the Zoetrope. In Reynaud's design the pictures were viewed in succession by reflection from a series of narrow vertical mirrors placed at the center of the drum. The drum is spun by hand, and the horse appears to gallop.
A band of pictures is placed inside a shallow outer cylinder, so that each picture is reflected by the inner set of mirrors. The number of mirrors is equal to the number of pictures, and the images of the pictures are viewed in the mirrors. When the outer cylinder rotates, the quick succession of reflected pictures gives the illusion of a moving picture.
Using this principle, Reynaud found a way to project the series of pictures onto a screen. He called this the "Theatre Optique." A standard praxinoscope, like the one above, can only accomodate a second or two of animation because of the limited number of pictures it contains. Reynaud's "Theatre Optique" used a long roll of paper to increase the number of pictures, and was therefore able to create a much longer show for an audience.
videos:
Using a drum design which revolved, as with the Zoetrope, the images were viewed reflected in a prism of mirrors which rose from the centre of the drum. Each mirror as it passed flashed a clear image opposed to it.
The result was perfect animation without the loss of luminosity in movement which was experienced with the Zoetrope.
The next step, as Reynaud saw it, was to adapt his existing device so that the animated pictures could be projected. The replacement of the opaque drawings with transparent drawings meant that light could be shone through them. The light which shone through the pictures was reflected by the mirror prism and focused onto a screen through a lens.
In 1872 Reynaud took this idea and turned it into theatrical entertainment. Up until this point animation toys had been limited to repetitive images. Reynaud noted this and devised a method of painting a series of pictures on small glass plates which were joined together in a single flexible strip. The animated characters were projected onto a screen from behind.
Reynaud exhibited his projecting Praxinoscope giving public performances using long broad strips of hand painted frames.
The effect he achieved was successful but was jerky and slow. In addition the labour required to draw the strips meant that Reynaud’s films could not easily be reproduced.
Reynaud’s Theatre Optique came remarkably close to the cinema - all that it lacked was the addition of photography.
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