Spirited Away is an animation revolving around a young girl and her family moving to a new home. Before they reach their destination they are brought into a "parallel universe" showing their true character. This animation is very much about greed as well as love and kindness.
In Spirited Away the animator uses bright and vibrant colors to illustrate a surreal world, even at the colors are saying something. In Metropolis, the colors feel darker, but doesn't give off an ominous feeling. These two animations, in general, are very good examples of developed worlds and world views, unfortunate characteristics of some sorts. Animation techniques such as camera angles and panning emphasizes hierarchy or importance of one thing versus another.
Monday, December 8, 2008
Metropolis
In the movie Metropolis, the animator uses the three types of camera angles: worm's eye view, bird's eye view, and normal angle view. The use of worm's eye view within the crowd of people in the very beginning of the movie was used effectively because it makes you feel small in the midst of the larger crowd. Also in the same light, it illustrates the theme of Metropolis and the rise of the ziggurats. The animator also uses bird's eye view during the the same setting - immediately after he uses worm's eye view. The bird's eye view is an example of the rise of the ziggurats and how it will be towering over the people.
In the very beginning, just as the title appears, the animator pans out and just as it stops, a large vessel hovers over and drives into the screen. Panning in this scene was very cinematic because two opposite actions are occurring (in worm's eye view) - the screen panning outwards and the vessel driving inwards - giving you that feeling of smallness and inferiority that is reiterated throughout the movie. The opening scene reminds me of one of the scene's from the movie Independence Day, when the spaceship (U.F.O) is hovering over the White House and the rest of the East Coast.
In the very beginning, just as the title appears, the animator pans out and just as it stops, a large vessel hovers over and drives into the screen. Panning in this scene was very cinematic because two opposite actions are occurring (in worm's eye view) - the screen panning outwards and the vessel driving inwards - giving you that feeling of smallness and inferiority that is reiterated throughout the movie. The opening scene reminds me of one of the scene's from the movie Independence Day, when the spaceship (U.F.O) is hovering over the White House and the rest of the East Coast.
Lemony Snicket's A Series of Unfortunate Events
In Lemony Snicket's A Series Of Unfortunate Events, three wealthy children's parents are killed in a fire at their home. When they are sent to their distant relative, Count Olaf, they find out that he is plotting to kill them and take their fortune left behind by their parents.
In the end credits of Lemony Snicket's A Series of Unfortunate Events, where most of the computer animation is done, the animator reinforces the material/content of the movie with very macabre closing. To reinforce the macabre theme throughout the movie - the animator slowly pans into the three children only the small raft while displaying the end credits. Just as the children are within a reachable distance, they are picked up by a silhoutte of their relative, Count Olaf, and shortly after they float off into the sky. The animator illustrates the children's loneiness by placing them on the raft in the middle of the ocean.
The animator also reinforces the content of the movie with the material chose for the end credits. The animator reuses desolate and macabre settings such as the cemetry, the valley the children ride their bike through, and the use of leafless trees. The animator also reuses creepy eyes throughout the ending.
In the end credits of Lemony Snicket's A Series of Unfortunate Events, where most of the computer animation is done, the animator reinforces the material/content of the movie with very macabre closing. To reinforce the macabre theme throughout the movie - the animator slowly pans into the three children only the small raft while displaying the end credits. Just as the children are within a reachable distance, they are picked up by a silhoutte of their relative, Count Olaf, and shortly after they float off into the sky. The animator illustrates the children's loneiness by placing them on the raft in the middle of the ocean.
The animator also reinforces the content of the movie with the material chose for the end credits. The animator reuses desolate and macabre settings such as the cemetry, the valley the children ride their bike through, and the use of leafless trees. The animator also reuses creepy eyes throughout the ending.
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