Extra Credit (3)

Cartoon Art Museum

They did not give a receipt.

California Academy of Sciences

 

Creative Talent Network

Building a Scene in Maya

Special Effects in Animation and Live-Action

My first two term paper scores were both above 80; I will not be writing a third term paper.

Outline of the Third Term Paper

Introduction

Special Effects in Animation and Live-Action

Thesis: Compare the fire effects in the animated show Full Metal Alchemist: Brotherhood and  Fantastic Four (2005) to how fire works in real life.

1. Background information on Fullmetal Alchemist: Brotherhood
2. Give context on the scene (Colonel Mustang burning Lust)
3. How the fire effect looks in the animation vs reality (Too fast, very stylized)
4. Discuss how the effect was successful or not.

1. Background information on Fantastic Four (2005.)
2. Give context on the scene (Johnny Storm engulfs his arm in fire.)
3. How the fire effects looks in the animation vs reality
4. Discuss how the effect was successful or not.

1. Compare the fires. Were they successful in regards to their respective styles?

Conclusion

Special effects in animated films and live-action are done differently -- and may even look different -- but they should look and feel like they belong to that world.

Stop-Motion Character Animation

For this assignment, I worked with my classmate Samantha Healy. We took a DVD, made it go into a toaster oven, and transform into a bagel. We both animated and set-up the layout of the scene. We used a stopmotion app on Samantha's phone to take frames of the animation. Afterwards, we exported it onto my laptop, and put it together in After Effects. I used Photoshop to edit the images, removing unwanted things that somehow made its way into our scene.

Here's the bagel attached to a shot glass we used to hold it up, as we animated it jumping up and down.

Here's an unedited photo. My hand accidentally got into the shot, and the bagel is attached to the shot glass.

Here's the edited photo. I took out my hand and the shot glass.

Science Fact or Cinematic Fiction

Action movies are often known to defy the laws of physics. Falling down and being perfectly fine afterwards, superhuman strength, the ability to not get hit by a hail of bullets are a few examples of how action movies stretch and defy the laws of physics. These instances may break the suspension of disbelief, taking the viewer completely out of the film. However, the filmmaker may need to push and pull the laws of physics in order to maximize the emotion or intensity of a scene. Physics is often played with in animation films, but in this essay, I will focus on the physics of action films. Action films may not purposefully play up or down the laws of physics, but it happens very frequently. In this essay, I will be writing about how three films have broken the laws of physics, and whether if they were done tastefully or not. The three films that I will be writing about are: Batman Begins (2005), The Punisher (2003), and Stardust (2007.) In each of the films, the physics are broken differently. I will go through each individual scene, and explain how they are broken. Then I will write if this was done appropriately for dramatic flair or if it was just an oversight.

The first film I will be writing about is Batman Begins. It was directed in 2005 by Christopher Nolan, and starring Christian Bale and Liam Neeson. It depicts the beginnings of Batman, also known as Bruce Wayne -- in a dark and grim retelling of the Batman origin. When Bruce’s parents are murdered in cold-blood in a random, violent mugging, Bruce Wayne dedicates himself to traveling the world, and training himself in order to fight against injustice. In his travels, he meets Henri Ducard who helps train him to become a member of the League of Shadows. The film is fast-paced and well-directed, but upon looking closely, there are problems with the physics of the film.

The specific scene I will be referring to happens near the beginning of the film -- about 17 minutes in. Bruce Wayne is dueling with his mentor, Henri Ducard. They are fencing with swords on top of a frozen lake. 

However, when their blades clash, there is no power behind the attack. Whenever one of them defends from an attack, they are not appropriately pushed back. Newton’s third law of physics states that for every action there must be an equal and opposite reaction. But here in this example, Ducard attacks twice, quickly in succession. Bruce is able to block the attacks, but his body or sword does not move when Ducard’s sword strikes. Bruce’s body remains very still when there is a force -- Ducard --  pushing against him.

In the case of Batman Begins, this physics inaccuracy may be because of safety issues with the swords while filming or perhaps inadequate training with stuntwork. However, I do not think this inaccuracy hurts the film. It is not very noticeable unless the viewer is watching very closely. The point of this scene is to show two warriors nearly equal in strength, yet one is able to outwit the other with experience. Therefore, I do not think the action-reaction principle has to be as pronounced in this scene. If the two warriors are nearly equal in strength, they may not bend or break when they clash.

The second film I will be looking at is the Punisher. Directed in 2004 by Jonathan Hensleigh, the film stars Thomas Jane as Frank Castle -- also known as the Punisher -- and John Travolta as the villain Howard Saint. Frank Castle is working undercover as an arms dealer. At an arms deal, the FBI raids the seaport and kills Saint’s son who was present at the deal. Saint is enraged, and finds more info about Castle, and later sends a squad to murder Frank Castle and his entire family. Castle is able to survive and get away, and exact brutal vengeance upon Howard Saint and his cohorts.

The scene I will be referencing from this film begins about an hour and five minutes into the film. Frank Castle is cornered against by a mob hitman. 

The hitman uses a sawed off shotgun to shoot at Frank’s car. However, the shotgun doesn’t seem to have any recoil. The hitman shoots at Frank’s car multiple times, but his body barely reacts to the gun. Once again, according to Newton’s third law of physics, the amount of force produced by the shotgun should recoil the hitman’s arms back. However, in the film, he barely budges at all.

I think in this case, the film does not do a good job of suspending our disbelief. In order to display the power the hitman wields, he should react appropriately to the power of the shotgun blasts. The viewer has to feel that Frank is in danger because of this mob hitman with a powerful shotgun, but it doesn’t come off that way. The shotgun blasts falls flat because the shooter isn’t able to show the recoil of the gun.

The final movie I will be looking at is Stardust. It is an action-adventure film based off a book by Neil Gaiman. It is the story of a missing prince -- Tristan played by Charlie Cox -- who falls in love with a falling star -- Yvaine, played by Claire Danes. They are beset by three evil witches who feast on the fallen stars, in order to gain immortality and maintain their beauty.

Near the end of the film, Tristan’s uncle Prince Septimus throws his sword towards the villain of the film, Lamia the Dark Queen of the Witches. The force of the throw consequently launches Lamia through a door, and impales her against a wall. 

The thrown sword actually forces the Queen back around ten feet and lifts her off her feet. In this case, the reaction to the action is disproportionate. Nowhere in the film has Prince Septimus been shown to have this incredible strength. When this action occurs, it is very jarring, but it fits the tone of the film. Stardust is a fantastical film with flying ships and witches and magic. When this act occurs, it seems almost comical which fits in with the rest of the film. Stardust contains a specific tone and charm, so when it breaks the laws of physics like in this moment, it is not so strange although somewhat jarring.

In conclusion, there are many examples of where the laws of physics breaks in films. Sometimes it is done on purpose for exaggerated effect -- whether for drama or comedy -- which needs to be will thoughtout. When the laws of physics are broken because of an inattention to detail, the result is a dud. Therefore, filmmakers need to be very aware of the laws of physics so they can break it or stretch if needed.

Outline of the Second Term Paper

Science Fact or Cinematic Fiction?

Introduction

Thesis: Newton’s Third Law - every action has an equal and opposite reaction. These are movies that break Newton’s Third Law.

1. Batman Begins
1. Introduce the film Batman Begins.
2. Near the beginning of the film -- about 17 minutes in -- Bruce Wayne duels with his mentor, Ra’s Al Ghul. They are fencing with swords on top of a frozen lake. However, when their blades connect, there is no power behind the attack. Whenever one of them defends from an attack, they are not appropriately pushed back.
3. With every action, there is not an equal and opposite reaction. How come? Is it out of safety or shoddy swordplay?
2. The Punisher (2003)
1. Introduce the Punisher character and film.
2. About an hour and five minutes into the film, Frank Castle is cornered against by a mob hitman. The hitman uses a sawed off shotgun to shoot at Frank’s car. However, the shotgun doesn’t seem to have any recoil. The hitman shoots at Frank’s car multiple times, but barely reacts to the gun.
3. Stardust
1. Introduce the film Stardust and the novel it was based on by Neil Gaiman.
2. An hour and forty-seven minutes in, Prince Septimus throws his sword at Lamia, the Dark Queen of the Witches. The sword knocks her back several feet, which is too much force being directed at Lamia.

Conclusion: These movies may break the laws of physics, but some are done on purpose and others are done accidentally.

Reverse Video Reference

Clip A

Clip B

Clip C

Clip D

Stop Motion Animation of Falling

I wanted to make a pen drop. First, I took reference video of myself throwing a pen and seeing how it would fall. Then I took four sheets of animation paper to make my background. I set it on the floor, and used a cable as a makeshift ground. I placed the pen accordingly, as it would fall from an angle. I had to manually rotate the pen as it bounced off the ground. At the end, I used another pen to make the "ink" come out of the fallen pen.

Animation:

Ref:

The Laws of Physics in an Animation Universe

In an animated film, determining the physics of the film’s universe is one of the most important things. After all, the physics -- whether it is based on reality or modified -- is the backbone of any animated feature. It decides how fast characters or objects will move, fall, or any sort of motion. The most important thing is for the laws of physics to be consistent throughout the entire film.

For my Physics of Animation paper, I decided to write on Paprika, a 2006 animated film directed by Satoshi Kon. He has directed films like Perfect Blue and Tokyo Godfathers. Kon is known for his unique sense of direction. For example, Kon will use the jump cut to juxtapose two subjects together while being in two completely different scenes. Paprika is probably the strangest and weirdest Satoshi Kon film to watch, yet at the same time, it is the most exciting.

In Paprika, there is a device that permits users to enter the subconscious of other people. The device, the DC Mini, allows the user to enter and view the dreams of their patient. This brand of psychotherapy treatment is called “dream therapy.”

Doctor Atsuko Chiba begins to use the machine illegally to help psychiatric patients outside of her research facility. Chiba uses the DC Mini to delve into dreams of her patients, helping them confront their fears as her alter-ego, Paprika. Eventually, the DC Mini is used to kill other researchers on the projects. The reason these killings happen is because the chairman of the research committee for dream therapy, Doctor Seijiro Inui. Eventually, the dream world leaks out into reality. The Chairman Inui returns to reality as a grotesque nightmare, threatening to destroy the world. Chiba has to come to terms with her repressed desires, manifested as Paprika. As she does so, Chiba is able to consume the Inui’s nightmarish form and end his dream.

In the film Paprika, Satoshi Kon relies on the audience believing in the physics of the world, then immediately breaks a fundamental rule of physics, thereby creating a jarring and contrasting moment. In order for the dream world of Paprika to be believable as another reality -- with another set of rules -- Kon realizes the need to show his characters living in, what is presumably, the real world. After the dream sequence, Kon sets it up so we see the physics of the real world in the works.

Here, we see Chiba riding her motorcycle, the wind creating the drag on her hair and clothing. People move as they would in real life, without any peculiar attributes.

Another example is drag is when we see a researcher in a medium shot, walking down a hallway. Her hair is dragging behind her. 

Paprika needs little touches like hair or cloth drag in order to sell us the laws of physics. When you think everything is going one away and that things are suppose to happen in a certain way -- Satoshi Kon shifts into reverse, and starts driving the film in another direction.

Paprika breaks all kinds of rules of physics. The first is that people in the dream world seem to be able to alter and adjust their mass and size at will. The film begins with a car driving into the middle of a circus platform. There’s no frame of reference for how large the car is, but a clown 4-5 times the height of the car steps out from it. 

This establishes that the scene we’re viewing is not something that conforms to reality. It is impossible for a car so small to be able to fit a clown that large without the clown being made out of putty.

Another example is when Paprika jumps into a painting and shapeshifts into a chimera. 

She jumps off from the painting, and takes flight into the air. The chimera flies believably, but is juxtaposed by the shifting of mass. Satoshi Kon is able to mix and match the rules of reality with his own rules, creating a true dream-like set of scenes in an animated film. What makes this scene so interesting is that Kon is able to intersperse these dream-like sequences with actions that are still ruled by the laws of physics. 

When Paprika is falling, she is falling much faster than the feathers -- for a given size and shape, the object that weighs more (Paprika) has a high terminal velocity than something with a smaller surface area yet lighter (the feathers.)

The second law of physics that the film Paprika ignores at time is motion. Near the beginning of the film, there is a montage of a parade with circus animals and dancers. It is a seemingly normal parade. A lion jumps through a fiery arch, and follows a regular arc, slowing down at the apex. We, as viewers, are lured into the sense that that what we are seeing is normal and even taking in the real world. But after this, we find a character, Detective Toshimi Konakawa, teleporting from one spot to another. As a viewer, we can immediately sense that something is obviously amiss. In fact, you could say there is no physics actually involved. There is no sense of acceleration or motion, change of speed or direction.

The use of teleportation is quite common in Paprika. In the opening sequence, Konakawa falls and is picked up by a swinging Paprika as a circus performer. 

They immediately teleport to another environment, where Konakawa is swinging on vines in a jungle. 

From the jungle, Konakawa is knocked off the vine, and teleports to a train where he is being choked by an unknown assailant. 

These sudden cuts and change of environments come rapidly -- Satoshi Kon doesn’t let up. It is almost as if Kon is saying, “This is the dream world. Your rules of reality do not apply here.” All you can do is buckle up for the ride.

Another instance of teleportation is when Paprika jumps into a television and appears exactly where the television was showing. 

This is the part in the film where reality and the dream world appears to be colliding with one another. The film has been slowly building up to the climax of the film. All we can know about physics has gone through the window.

In conclusion, Paprika is a film that needs the laws of physics to work accurately. Without it, the film wouldn’t have been as strong. Satoshi Kon needed things to fall accurately, people to move as they would in real life -- otherwise, the real world sequences and the dream world sequences would not have worked. There would have been no discernable difference between the two. Paprika is a film about dreams, grounded in reality -- yet Satoshi Kon is able to pull the rug from under us.


(I've changed the order of my outline. My essay goes from a hypothesis about reality to mass manipulation to teleportation.)

Outline of the First Term Paper

The Laws of Physics in an Animation Universe

Topic: Paprika

I. Introduction

1. Introduce “Paprika,” a film by Satoshi Kon.
2. History and context of Satoshi Kon’s works.
3. Describe the DC Mini and the Dream World
4. Thesis: Paprika’s Dream World diverges from the physics of our reality.

II. Reality Bending

1. The environment of Paprika’s Dream World will at times warp and liquify, not acting as their proper material.
2. The walls and floor of the hotel Detective Konakawa is at warps and acts more like the waves of an ocean.
3. Dr. Osanai runs his hand through Paprika’s body -- splitting it apart -- and revealing her real self, Dr. Chiba.

III. Teleportation

1. Inhabitants of the Dream world are able to teleport to different settings and environments in an instant.
2. Use of jump cuts allows Konakawa travels from a circus to a jungle to a train.
3. Osanai instantly switches with Dr. Shima, and Chiba instantly turns into Paprika.
4. Paprika jumps through a television inside a room, and comes outside through a video camera.

IV. Impossibility of Mass

1. Some characters seem to have an impossible amount of mass hidden within themselves.
2. While Osanai tortures Chiba, Dr. Inui forcibly tears his way into reality through Osanai’s body.
3. Dr. Inui is wheelchair-bound, but at one point, stands up and walks when his legs shift into sentient tree roots.

V. Conclusion

1. The film “Paprika” breaks all the rules of reality in order to differentiate between their reality and dream world.
2. “Paprika” is able to show reality