MK. ANIMASI I

Animasi

Dari Wikipedia bahasa Indonesia, ensiklopedia bebas

Animasi dengan laju 10 frame per detik

Animasi seekor kuda buatan Edward Muybridge

Animasi, atau lebih akrab disebut dengan film animasi, adalah film yang merupakan hasil dari pengolahan gambar tangan sehingga menjadi gambar yang bergerak. Pada awal penemuannya, film animasi dibuat dari berlembar-lembar kertas gambar yang kemudian di-“putar” sehingga muncul efek gambar bergerak. Dengan bantuan komputer dan grafika komputer, pembuatan film animasi menjadi sangat mudah dan cepat. Bahkan akhir-akhir ini lebih banyak bermunculan film animasi 3 dimensi daripada film animasi 2 dimensi.

Wayang kulit merupakan salah satu bentuk animasi tertua di dunia. Bahkan ketika teknologi elektronik dan komputer belum diketemukan, pertunjukan wayang kulit telah memenuhi semua elemen animasi seperti layar, gambar bergerak, dialog dan ilustrasi musik.

Proses pembuatan animasi

Ada dua proses pembuatan film animasi, diantaranya adalah secara konvensional dan digital. Proses secara konvensional sangat membutuhkan dana yang cukup mahal, sedangkan proses pembuatan digital cukup ringan. Sedangkan untuk hal perbaikan, proses digital lebih cepat dibandingkan dengan proses konvensional. Tom Cardon seorang animator yang pernah menangani animasi Hercules mengakui komputer cukup berperan. “Perbaikan secara konvensional untuk 1 kali revisi memakan waktu 2 hari sedangkan secara digital hanya memakan waktu berkisar antara 30-45 menit.”[1] Dalam pengisian suara sebuah film dapat dilakukan sebelum atau sesudah filmnya selesai. Kebanyakan dubbing dilakukan saat film masih dalam proses, tetapi kadang-kadang seperti dalam animasi Jepang, sulih suara justru dilakukan setelah filmnya selesai dibuat.

2Dimensi

Celluloid (konvensional)

Teknik Celluloid (kadang-kadang disebut menjadi cell) ini merupakan teknik mendasar dalam pembuatan film animasi klasik. Setelah gambar mejadi sebuah rangkaian gerakan maka gambar tersebut akan ditransfer keatas lembaran transparan (plastik) yang tembus pandang/ sel (cell) dan diwarnai oleh Ink and Paint Departement. Setelah selesai film tersebut akan direkam dengan kamera khusus, yaitu multiplane camera didalam ruangan yang serba hitam.

Objek utama yang mengeksploitir gerak dibuat terpisah dengan latar belakang dan depan yang statis. Dengan demikian, latar belakang (background) dan latar depan (foreground) dibuat hanya sekali saja. Cara ini dapat menyiasati pembuatan gambar yang terlalu banyak.

  • Pra-produksi:
    • Konsep,
    • Skenario,
    • Pembentukan karakter,
    • Storyboard,
    • Dubbing awal,
    • Musik dan sound FX
  • Pasca-produksi:
    • Lay out (Tata letak),
    • Key motion (Gerakan kunci/ inti),
    • In Between (Gambar yang menghubungkan antara gambar inti ke gambar inti yang lain)
    • Clean Up (Membersihkan gambar dengan menjiplak)
    • Background (Gambar latar belakang),
    • Celluloid (Ditransfer keatas plastik transparan)
    • Coloring (Mewarnai dengan tinta dan cat).
  • Post-produksi:
    • Composite,
    • Camera Shooting (Gambar akan diambil dengan kamera, dengan mengambil frame demi frame),
    • Editing,
    • Rendering,
    • Pemindahan film kedalam roll film.

Komputer

Setelah perkembangan teknologi komputer di era 80-an, proses pembuatan animasi 2 dimensi menjadi lebih mudah. Yang sangat nyata dirasakan adalah kemudahan dalam proses pembuatan animasi. Untuk penggarapan animasi sederhana, mulai dari perancangan model hingga pengisian suara/dubbing dapat dilakukan dengan mempergunakan satu personal komputer. Setiap kesalahan dapat dikoreksi dengan cepat dan dapat dengan cepat pula diadakan perubahan. Sementara dengan teknik konvensional, setiap detail kesalahan kadang-kadang harus diulang kembali dari awal. Proses pembuatan animasi 2Dimensi digital terdiri dari:

  • Pra-produksi:
    • Konsep,
    • Skenario,
    • Pembentukan karakter,
    • Storyboard,
    • Dubbing awal,
    • Musik dan sound FX
  • Pasca-produksi:
    • Lay out (Tata letak),
    • Key motion (Gerakan kunci/ inti),
    • In Between (Gambar yang menghubungkan antara gambar inti ke gambar inti yang lain)
    • Background (Gambar latar belakang),
    • Scanning
    • Coloring.
  • Post-produksi:
    • Composite,
    • Editing,
    • Rendering,
    • Pemindahan film kedalam berbagai media berupa VCD, DVD, VHS dan lainnya.

3Dimensi

Wiki letter w.svg Bagian ini membutuhkan pengembangan.

Tiga Dimensi, biasanya digunakan dalam penanganan grafis. 3D secara umum merujuk pada kemampuan dari sebuah video card (link). Saat ini video card menggunakan variasi dari instruksi-instruksi yang ditanamkan dalam video card itu sendiri (bukan berasal dari software) untuk mencapai hasil grafik yang lebih realistis dalam memainkan game komputer.[2]

Film Animasi dengan keuntungan tertinggi

Sampai saat ini, ada beberapa film animasi yang memiliki keuntungan yang sangat besar, sebut saja Shrek 2 atau Finding Nemo, yang keuntungannya sudah diatas 800 juta dollar, yang film lain saja sangat sulit mendapatkannya. Berikut adalah 20 film animasi dengan pendapatan tertinggi :

Rank Nama Film↓ Studio↓ Penghasilan dunia↓ Tahun↓
1 Shrek 2 DreamWorks SKG $919,838,758 2004
2 Ice Age: Dawn of the Dinosaurs BlueSky $878,701,244 2003
3 Finding Nemo Disney/Pixar $864,625,978 2003
4 Shrek The Third DreamWorks SKG $798,958,162 2007
5 The Lion King Buena Vista/Walt Disney $783,841,776 1994
6 Up Disney/Pixar $683,807,981 2009
7 Ice Age: The Meltdown 20th Century Fox $655,388,158 2006
8 Ratatouille Disney/Pixar $643,707,397 2007
9 Kung Fu Panda DreamWorks SKG $631,736,484 2008
10 The Incredibles Disney/Pixar $631,442,092 2004
11 Madagascar: Escape 2 Africa DreamWorks SKG $603,900,309 2008
12 Monsters, Inc. Disney/Pixar $545,366,597 2001
13 WALL•E Disney/Pixar $533,268,237 2008
14 Madagascar DreamWorks SKG $532,680,671 2005
15 Aladdin Buena Vista/Walt Disney $504,050,219 1992
16 Toy Story 2 Disney/Pixar $485,015,179 1998
17 Shrek DreamWorks SKG $484,409,218 2001
18 Cars Disney/Pixar $461,983,149 2006
19 Tarzan Buena Vista/Walt Disney $448,191,819 1999
20 Happy Feet Warner Bros. $384,300,000 2006

Animasi di Indonesia

Perkembangan animasi sebenarnya telah meluas di Indonesia, bahkan ada beberapa studio yang telah membuat animasi lisensi luar dikerjakan oleh tenaga ahli lokal atau dengan kalimat lain, Indonesia sudah lama terkenal hanya sebagai tempat produksi industri film animasi Jepang dan Amerika Serikat. Data Ainaki (Asosiasi Industri Animasi dan Konten Indonesia) mencatat nama-nama studio animasi Indonesia, diantaranya adalah: Frozzty Entertainment, Tunas Pakar Integraha, Castle Production,CAM Solution, Mirage, Pustaka Lebah, Jogjakartun, Mrico, Animad Studio, Jelly Fish, Bulakartun, Griya Studio, Bening Studio, Studio Kasatmata, Asiana Wang Animation, Bintang Jenaka Cartoon Film, Red Rocket, Infinite Frameworks Studios Batam dan lain-lain.[3]

Catatan kaki

ANIMASI STOP MOTION

Membuat Animasi Stop Motion (Bidang Datar)

Salah satu bentuk animasi Stop Motion adalah Clay Animation (Animasi dari tanah liat).

Contoh-contoh animasi clay :

http://www.youtube.com/watch?v=Gj7auB0-su0

Yang ini macam-macam baik dari clay maupun benda lain :

http://www.youtube.com/watch?v=A3_TYJGkwi8

Teori, Teknis, tutorial dan cara bikin :

http://en.wikipedia.org/wiki/Clay_animation

http://www.twolefthands.fr/

Bahan Clay bisa didapatkan di Gramedia, namun kita juga bisa membikin dengan murah seperti clay dari tepung. Link : http://kreasitha.blogspot.com/2007/11/macam-macam-clay.html

Software : http://www.stopmotionpro.com/

Software gratis : http://www.clayanimator.com/programs/stop_motion_animator/smasetup1.exe

Stop motion

From Wikipedia, the free encyclopedia

Jump to: navigation, search

Question book-new.svg
This article needs additional citations for verification.
Please help improve this article by adding reliable references. Unsourced material may be challenged and removed. (March 2010)

A simple stop motion animation of a moving coin

clay animation

Stop motion (also known as stop action) is an animation technique to make a physically manipulated object appear to move on its own. The object is moved in small increments between individually photographed frames, creating the illusion of movement when the series of frames is played as a continuous sequence. Clay figures are often used in stop motion for their ease of repositioning. Motion animation using clay is called clay animation or clay-mation.

Contents

[hide]

//

[edit] History

Stop motion animation has a long history in film. It was often used to show objects moving as if by magic. The first instance of the stop motion technique can be credited to Albert E. Smith and J. Stuart Blackton for The Humpty Dumpty Circus (1898), in which a toy circus of acrobats and animals comes to life. In 1902, the film Fun in a Bakery Shop used clay for a stop motion “lightning sculpting” sequence. French trick film maestro Georges Méliès used it to produce moving title-card letters for one of his short films, but never exploited the process for any of his other films[dubiousdiscuss]. The Haunted Hotel (1907) is another stop motion film by J. Stuart Blackton, and was a resounding success when released. Segundo de Chomón (1871–1929), from Spain, released El Hotel Eléctrico later that same year, and used similar techniques as the Blackton film. In 1908, A Sculptor’s Welsh Rarebit Nightmare was released, as was The Sculptor’s Nightmare, a film by Billy Bitzer. Italian animator Roméo Bossetti impressed audiences with his object animation tour-de-force, The Automatic Moving Company in 1912. The great European stop motion pioneer was Wladyslaw Starewicz (1892–1965), who animated The Beautiful Lukanida (1910), The Battle of the Stag Beetles (1910), The Ant and the Grasshopper (1911).

One of the earliest clay animation films was Modelling Extraordinary, which dazzled audiences in 1912. December 1916 brought the first of Willie Hopkins’ 54 episodes of “Miracles in Mud” to the big screen. Also in December 1916, the first woman animator, Helena Smith Dayton, began experimenting with clay stop motion. She would release her first film in 1917, an adaptation of William Shakespeare‘s Romeo and Juliet.

In the turn of the century, there was another well known animator known as Willis O’ Brien (known by others as O’bie). His work on The Lost World from 1925 is known, but he is most admired[citation needed] for his work on King Kong, a milestone of his films made possible by stop motion animation.

[edit] 1960s and 1970s

In the 1960s and 1970s, independent clay animator Eliot Noyes Jr. refined the technique of “free-form” clay animation with his Oscar-nominated 1965 film Clay or the Origin of Species and He Man and She Ra (1972). Noyes also used stop motion to animate sand laying on glass for his musical animated film Sandman (1975).

Sand-coated puppet animation was used in the Oscar-winning 1977 film The Sand Castle, produced by Dutch-Canadian animator Co Hoedeman. Hoedeman was one of dozens of animators sheltered by the National Film Board of Canada, a Canadian government film arts agency that had supported animators for decades. A pioneer of refined multiple stop motion films under the NFB banner was Norman McLaren, who brought in many other animators to create their own creatively controlled films. Notable among these are the pinscreen animation films of Jacques Drouin, Alexeiff Parker, and Gaston Sarault such as Mindscape (1976).

Italian stop motion films include Quaq Quao (1978), by Francesco Misseri, which was stop motion with origami, The Red and the Blue and the clay animation kittens Mio and Mao. Other European productions included a stop motion-animated series of Tove Jansson‘s The Moomins (from 1979, often referred to as “The Fuzzy Felt Moomins”), produced by Film Polski and Jupiter Films.

Marc Paul Chinoy directed a puppet animation feature-length film based on the famous Pogo comic strip in 1980. Titled I go Pogo, it was aired a few times on American cable channels but, has yet to be commercially released.[citation needed]

One of the main British Animation teams, John Hardwick and Bob Bura, were the main animators in many early British TV shows, and are famous for their work on the Trumptonshire trilogy.

Disney experimented with several stop motion techniques by hiring independent animator-director Mike Jittlov to do the first stop motion animation of Mickey Mouse toys ever produced for a short sequence called Mouse Mania, part of a TV special commemorating Mickey Mouse’s 50th Anniversary called Mickey’s 50th in 1978. Jittlov again produced some impressive multi-technique stop motion animation a year later for a 1979 Disney special promoting their release of the feature film The Black Hole. Titled Major Effects, Jittlov’s work stood out as the best part of the special. Jittlov released his footage the following year to 16mm film collectors as a short film titled The Wizard of Speed and Time, along with four of his other short multi-technique animated films, most of which eventually evolved into his own feature-length film of the same title. Effectively demonstrating almost all animation techniques, as well as how he produced them, the film was released to theaters in 1987 and to video in 1989.

[edit] 1980s to present

In the 1970s and 1980s, Industrial Light & Magic often used stop motion model animation for films such as the original Star Wars trilogy: the chess sequence in Star Wars, the Tauntauns and AT-AT walkers in The Empire Strikes Back, and various Imperial machines in Return of the Jedi are all stop motion animation, some of it using the Go films. The many shots including the ghosts in Raiders of the Lost Ark and the first two feature films in the RoboCop series use Phil Tippett’s Go Motion version of stop motion.

Stop motion was also used for some shots of the final sequence of Terminator movie, as they were for the scenes of the small alien ships in Spielberg‘s Batteries Not Included in 1987, animated by David W. Allen. Allen’s stop motion work can also be seen in such feature films as The Crater Lake Monster (1977), Q – The Winged Serpent (1982), The Gate (1986) and Freaked (1993). Allen’s King Kong Volkswagen commercial from the 1970s is now legendary among model animation enthusiasts.

Of note are the films of Czech filmmaker Jan Švankmajer, which mix stop motion and live actors. These include Alice, an adaptation of Lewis Carroll’s Alice’s Adventures in Wonderland, and Faust, a rendition of the legend of the German scholar. The Czech school is also illustrated by the series Pat & Mat (1979–2004). Created by Lubomír Beneš and Vladimír Jiránek, and it was wildly popular in a number of countries.

Since the general animation renaissance headlined by the likes of Who Framed Roger Rabbit and The Little Mermaid at the end of the 1980s and the beginning of the 1990s, there have been an increasing number of stop motion feature films, despite advancements with computer animation. The Nightmare Before Christmas, directed by Henry Selick and produced by Tim Burton was one of the more widely-released stop motion features. Henry Selick also went on to direct James and the Giant Peach and Coraline, and Tim Burton went on to direct Corpse Bride.

Another individual who found fame in clay animation is Nick Park, who created the characters Wallace and Gromit. In addition to a series of award-winning shorts and featurettes, he won the Best Animated Feature Oscar for the feature-length outing Wallace & Gromit: The Curse of the Were-Rabbit. Chicken Run, his first feature-length production, grossed over $100 million at the North American box-office, and garnered critical praise. Other notable stop motion feature films released since 1990 include Fantastic Mr. Fox and $9.99, both released in 2009, and The Secret Adventures of Tom Thumb (1993).

[edit] Variations of stop motion

[edit] Stereoscopic stop motion

Stop motion has very rarely been shot in stereoscopic 3D throughout film history. The first 3D stop motion short was In Tune With Tomorrow (also known as Motor Rhythm) in 1939 by John Norling. The second stereoscopic stop motion release was The Adventures of Sam Space in 1955 by Paul Sprunck. The third and latest stop motion short in stereo 3D was The Incredible Invasion of the 20,000 Giant Robots from Outer Space in 2000 by Elmer Kaan[1] and Alexander Lentjes.[2][3] This is also the first ever 3D stereoscopic stop motion and CGI short in the history of film.

The first all stop motion 3D feature is Coraline (2009), based on Neil Gaiman‘s best-selling novel and directed by Henry Selick. The film is produced by Nike shoe founder Phil Knight‘s Laika animation studio in Portland, Oregon, formerly Will Vinton’s claymation studio.

[edit] Go motion

Another more-complicated variation on stop motion is go motion, co-developed by Phil Tippett and first used on the films The Empire Strikes Back (1980), Dragonslayer (1981), and the RoboCop films. Go motion involved programming a computer to move parts of a model slightly during each exposure of each frame of film, combined with traditional hand manipulation of the model in between frames, to produce a more realistic motion blurring effect. Tippett also used the process extensively in his 1983 short film Prehistoric Beast, a 12 minute long sequence depicting a herbivorous dinosaur, being chased by a carnivorous dinosaur. With new footage Prehistoric Beast became Dinosaur! in 1985, a full length dinosaurs documentary hosted by Christopher Reeve. Those Phil Tippett’s go motion tests acted as motion models for his first photo-realistic use of computers to depict dinosaurs in Jurassic Park in 1993. A lo-tech, manual version of this blurring technique was originally pioneered by Wladyslaw Starewicz in the silent era, and was used in his feature film The Tale of the Fox (1931).

[edit] Computer generated imagery

The almost universal use of CGI (computer generated imagery) has effectively rendered stop motion obsolete as a serious special effects tool in feature film[citation needed]. However, its low entry price, and still unique “look” and “feel” on film means stop motion is still used on some projects such as in children’s programming, as well as in commercials and comic shows such as Robot Chicken. The argument that the textures achieved with CGI cannot match the way real textures are captured by stop motion also makes it valuable for a handful of movie makers, notably Tim Burton, whose puppet-animated film Corpse Bride was released in 2005.

[edit] Stop motion in television

Dominating children’s TV stop motion programming for three decades in America was Art Clokey’s Gumby series—which spawned a feature film, Gumby I in 1995—using both freeform and character clay animation. Clokey started his adventures in clay with a 1953 freeform clay short film called Gumbasia (1953) which shortly thereafter propelled him into his more structured Gumby TV series.

Rankin/Bass is a very famous stop-motion company. Since the 1960s it has been making many stop-motion Christmas specials such as Rudolph the Red-Nosed Reindeer, The Year Without a Santa Claus, Santa Claus is Coming to Town, and many others.

ion compIn November 1959 the first episode of Sandmännchen was shown on East German television, a children’s show that had Cold War propaganda as its primary function. New episodes are still being produced in Germany, making it one of the longest running animated series in the world. However, the show’s purpose today has changed to pure entertainment.

In the 1960s, the French animator Serge Danot created the well-known The Magic Roundabout (1965) which played for many years on the BBC. Another French/Polish stop motion animated series was Colargol (Barnaby the Bear in the UK, Jeremy in Canada), by Olga Pouchine and Tadeusz Wilkosz.

A British TV-series Clangers (1969) became popular on television. The British artists Brian Cosgrove and Mark Hall (Cosgrove Hall Films) produced a full length film The Wind in the Willows (1983) and later a multi-season TV series The Wind in the Willows based on Kenneth Grahame‘s classic children’s book of the same title. They also produced a documentary of their production techniques, Making Frog and Toad.

Another example is “Pingu” (1986) about a penguin who lives with his family in an igloo.

In the 1990s Trey Parker and Matt Stone made two original shorts and the pilot of South Park almost entirely out of construction paper.

The animated series Robot Chicken continues to primarily utilize stop motion animation, using custom made action figures and other toys as principal characters. Other action figures, called Stikfas, are very popular stop motion figures and are not extremely expensive. Morel Orel is another stop motion based show, along with the upcoming Mary Shelley’s Frankenhole, both created by Dino Stamatopoulos.

[edit] Stop motion in other media

A craze on the internet is animating with clay figures on public video sites such as YouTube and Google Video. They are often extremely simple, bordering on “freeform”, but effective. Some barely have a face, but the comedic or violence proportions exceeding those of conventional clay puppets, with grisly crime scenes riddled by clay gunfire and hapless victims falling in a sniper’s cross hairs. The comedy helps the viewer enjoy the animation without noticing the simpleness of the clay puppet. Many younger people begin their experiments in movie making with stop motion. Many new stop motion shorts use clay animation into a new form.[4]

Also, singer-songwriter Oren Lavie‘s music video for the song Her Morning Elegance was posted on YouTube on January 19, 2009. The video, directed by Lavie and Yuval and Merav Nathan, uses stop motion and has achieved great success with over 15 million views, also earning a 2010 Grammy Award nomination for “Best Short Form Music Video”.

Stop motion has occasionally been used to create the characters for computer games, as an alternative to CGI. the Virgin Interactive Entertainment Mythos game Magic and Mayhem(1998) featured creatures built by stop motion specialist Alan Friswell, who made the miniature figures from modelling clay and latex rubber, over armatures of wire and ball-and-socket joints. The models were then animated one frame at a time, and incorporated into the CGI elements of the game through digital photography. “ClayFighter” for the Super Nintendo and The Neverhood for the PC are other examples.

[edit] Stop motion in astronomy

Stop motion photography is used to observe diurnal motion. Circumpolar stars close to the celestial pole move only slowly. Conversely, following the diurnal motion with the camera, to eliminate it on the photograph, can best be done with an equatorial mount, which requires adjusting the right ascension only; a telescope may have a motor to do that automatically (sidereal drive).

A specific example of stop motion photography in astronomy is photographing the solar analemma, which requires a camera to remain stationary for an entire year, with exposures taken at the same time every few days.

[edit] See also

[edit] References

  1. ^ “Elmer Kaan”. Elmer Kaan. http://www.elmerkaan.com/about.html. Retrieved 2010-04-24.
  2. ^ “Alexander Lentjes”. Moonridge5.com. http://www.moonridge5.com/credits_alexander_lentjes.html. Retrieved 2010-04-24.
  3. ^ 3-D Revolution Productions. “Animation”. The3drevolution.com. http://www.the3drevolution.com/animation.html. Retrieved 2010-04-24.
  4. ^ “Blu-Tack® – Make Our Next Advert”. Blu-tack.co.uk. http://www.blu-tack.co.uk/filmmaker. Retrieved 2010-04-24.
Notes
  • Tayler, Richard. The Encyclopedia of Animation Techniques. Running Press, Philadelphia, 1996. ISBN 1-56138-531-X
  • Lord, Peter and Brian Sibley. Creating 3-D Animation. Harry N. Abrams, New York, 1998. ISBN 0-8109-1996-6
  • Sibley, Brian. Chicken Run: Hatching the Movie. Harry N. Abrams, New York, 2000. ISBN 0-8109-4124-4
  • Smith, Dave. Disney A to Z. Hyperion Books, New York, 1998. ISBN 0-7868-6391-9
  • Maltin, Leonard Movie and Video Guide. Signet Reference Paperbacks, New American Library, Penguin Putnam, New York, 2006.

http://www.youtube.com/watch?v=acg4mpQ98Qo

—————

Animator Lokal Bikin Animasi Stop Motion Pertama untuk Yupi

Rabu, 8 April 2009 | 09:41 WIB

CELCIUS

CELCIUS
Tekstur Yupi terlihat alami dengan teknik animasi stop motion,
Permen kenyal Yupi bergerak-gerak bak hidup dalam iklan TV yang dibuat dengan teknik animasi stop motion.

JAKARTA, KOMPAS.com — Sudah lihat iklan permen kenyal (gummy candy) Yupi di televisi? Itu loh tebak-tebakan antara beberapa anak tentang hewan dua huruf, yang ternyata jawabannya adalah UdanG? Atau iklan lain yang bertema Buaya Darat? Lucu dan menggemaskan bukan?

Ada cerita menarik di balik iklan Yupi yang mengusung tema “kenyalnya bikin hepi” tersebut. Kedua iklan yang masing-masing berdurasi 30 detik itu dibuat dengan teknik stop motion, bukan animasi digital 3D. Dan untuk iklan TV, ini merupakan yang pertama di Indonesia.

Padahal jika dibandingkan animasi 3D, teknik stop motion ini lebih kuno, juga lebih mahal biayanya. Lalu mengapa produsen Yupi memilih teknik kuno tersebut untuk mengangkat produk permen kenyal barunya? Ternyata karena hasilnya lebih menarik, lebih ekspresif.

“Dengan teknik animasi, warna-warna Yupi tidak menonjol. Dengan stop motion, teksturnya lebih mengilap, yang tidak bisa didapat dengan (animasi) 3D. Apalagi variasi produk Yupi ada tiga, transparan, bersalut gula. Ini tekstur setiap jenisnya bisa terlihat,“ urai Yenny Siswanto (Account Director, Celcius Creative Communications). Yenny menjelaskan, keunggulan Yupi terletak pada aneka bentuk yang indah dan warna alami sehingga akan lebih indah jika produk Yupi sendiri yang dijadikan tokoh iklan.

“Dengan teknik stop motion, kita dapat merasakan dan menghidupkan karakter secara handmade. Semua karakter, seperti buaya, gigi, bibir, anjing laut, nanas, cacing, dibuat seperti hidup, termasuk gambar pohon dan rumah yang menjadi setting utamanya,” tambah Yenny.

Apa sih yang dimaksud dengan animasi stop motion? Ini pada dasarnya adalah teknik di mana obyek—boneka, model, atau gambar—digerakkan dengan tangan animator dengan cara memindahkan posisinya secara perlahan-lahan. Setiap gerakan itu kemudian direkam dengan kamera foto. Berikutnya, hasil foto disusun berurutan untuk mendapatkan efek bergerak dan hidup. Ini mirip teknik animasi klasik berbasis gambar.

“Gerakan dibuat dengan tangan, bukan animasi. Di-shoot tidak pakai film, tetapi pakai still digital camera. 25 frame untuk satu gerakan. (Ini) Karena mau dibuat frame per frame, yang jumlahnya ribuan, agar bisa disusun satu-satu. Kesulitannya, (permen) yang transparan. Harus kelihatan (teksturnya). Kalau pakai clay (tanah liat) tidak terlihat,“ cerita Ary Ong yang menghabiskan waktu 3 hari untuk shooting dan sekitar satu minggu untuk proses pascaproduksi.

“Ada tokoh Yupi yang dibuat dalam ukuran sesungguhnya, tetapi ada juga yang diperbesar. Dibuat layer per layer, “ kata Ary. “Pengambilan adegan (anak-anak) pakai HD (high definition). Untuk produk stop motion, pakai still camera, SLR. Online-nya pakai Flame,” tambahnya. “Originalitas stop motion itu menantang. Kalau animasi biasa, saja, buat modeling, dan lamanya cuma di rendering,” katanya lagi.

Menurut Juliwati Husman (Sales & Marketing Director, PT Yup Indo Jelly Gum), penayangan iklan Yupi dengan teknik stop motion di berbagai TV itu sudah membuahkan hasil. “Di minggu ketiga, ada peningkatan penjualan. Lumayan, di atas ekspektasi. Mungkin karena sudah lama tidak ada iklan (Yupi), maka peningkatannya langsung terlihat,” cerita Juliwati.

——————————

akuvision On Selasa, 2010 Oktober 12

patrick-boivin

Antara video Youtube yang sering saya tonton di internet ialah dari hasil karya channel milik Patrick Boivin. Anda masih ingat dengan video Youtube Iron Baby?,ia adalah milik olahan Patrick Boivin ini, malah model baby yang digunakan dalam Iron Baby adalah anak perempuan Patrick sendiri ( klik pautan ini untuk melihat video Iron Baby di Youtube ). Sebagai seorang yang minat dengan seni animasi, saya begitu terpesona dengan kebolehan Patrick dalam menghasilkan seni animasi stop motion.

IRON-BABY “Iron Baby video screenshot”

Apakah itu stop motion?, jika anda pernah melihat Wallace and Gromit atau Flushed Away maka itulah hasil karya animasi stop motion dan untuk mengetahui tentang stop motion dengan lebih lanjut rujuk pada pautan ini STOP MOTION.

Siapakah Patrick Boivin?, secara ringkas beliau merupakan seorang pembikin filem yang berasal dari Montreal, Quebec, Kanada dan terkenal dengan kepakaran dalam seni animasi stop motion dan karya filem pendek ( kebanyakan karyanya boleh di lihat di laman Youtube ). Dalam membikin sesuatu karya boleh dikatakan Patrick melakukan segalanya secara sendiri dari pencahayaan, proses suntingan, animasi, kesan khas dan juga muzik ( well – around ).

Dibawah ini adalah sebahagian dari karya Patrick Boivin dalam kategori animasi stop motion:-

“Google Nexus One Promo Ads, Sponsored by Google”

“Stop motion animation of Bruce Lee VS Iron Man”

“Stop motion animation of Mr. Bean dance battle with M. Jackson”

“Most recent Patrick Boivin stop motion animation”

Untuk melihat video – video hasil karya Patrick Boivin yang lain, anda boleh klik pada pautan ini PATRICK BOIVIN CHANNEL atau klik pada imej dibawah ini atau diatas. Anda bukan sahaja dapat melihat hasil video dari animasi stop motion, malah karya filem pendek, interaktif dan video muzik. Dan jika berminat anda boleh melanggan channel Patrick Boivin.

patrick-boivin-channel

p/s:- Dalam Bahasa Malaysia ianya di panggil animasi gerak henti.

—————————-

Workshop Animasi StopMotion di RTJ

Apr 11, ’10 4:35 AM
for everyone

Slideshow

Setelah melewati proses memilih cerita, kemudian membuat storyboard dari cerita terpilih, maka proses berikutnya adalah, membuat properti mulai dari miniatur ruang rumah sakit, penjara, jalan raya, juga boneka figur, berdasarkan cerita yang telah disepakati. kemudian dilanjutkan dengan mengambil gambar yang akan dijadikan materi film animasi stopMotion.

dengan peralatan apa adanya, memanfaatkan yg ada, mulai dari gagang sapu sebagai monopod, lampu kamar disulap jadi lampu sorot, pengambilan babak ke 1 sudah bisa diselesaikan.

TUTORIAL FLASH LINK:

http://www.youtube.com/watch?v=-OLjDw3S7BA&feature=BF&list=PLE305AC699BEE29B5&index=28

http://www.youtube.com/watch?v=_l9rgoA9-L0&feature=BF&list=PLE305AC699BEE29B5&index=29

http://www.youtube.com/watch?v=svgUFb_N-Z0&feature=BF&list=PLE305AC699BEE29B5&index=35

Tinggalkan Balasan

Your email address will not be published. Required fields are marked *

 

Spam Protection by WP-SpamFree