Saturday, December 4, 2010

Extra Credit!

Some extra credit I did during the semester. I attended two of the events; the International Children's Film Festival: Secret of Kells Workshop in SF last September, and the Pixar exhibit at the Oakland Museum of California.

Secret of Kells Workshop

And my name is on it, fancy!


Pixar Exhibit

 
 I'm in the back, all the way in the right corner! 
I went with the Dave Yee's Story-boarding class.

If you would like to see the ticket stubs in person, let me know, I'll bring them with me to class. I do want to keep them though!

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I also did the grade calculation for this class with the breakdown sheet, and with my papers you seemed to enjoy very much,  I already have an A! Yay!!! 

With this in mind, I might not get around to doing the Stereoscopic 3D homework assignment. Even though I was really looking forward to it, I could use the the time to put towards other classes and final projects.

I had a lot of fun in this class; enjoying the lectures, demos, most of the homework assignments, and both papers. It was like being on Bill Nye the Science Guy, twice a week!

Sunday, November 21, 2010

Building a Scene in Maya


Tried to make a Broadway-esque font. Took longer than it should have...   D:

Thanks to Cory and Annlyn for helping me out! 

Wednesday, November 17, 2010

Scientific Fact or Cinematic Fiction: Term Paper Two




         Honey, Who Killed the Kong?

           Since the beginning of special effects, from primitive clay-mation to CGI motion capture, filmmakers have been toying with scale of it's characters for generations. While creating giant monsters and tiny people, the movie industry often doesn’t take into account the changes that would have to be made in order for those creatures to survive at different scales. In order for these extreme changes to be successful, you cannot just change the size to scale and expect them to survive. Mother Nature designed large and small creatures specifically for their individual functions and physiology. Deviations from these anatomical truths can be seen from a monstrous standpoint in Peter Jackson’s King Kong, as well as Honey I Shrunk the Kids on the opposite end of the scale. Proportions also have their own restrictions, and the breaking these rules can be seen with Who Framed Rodger Rabbit?’s Jessica Rabbit. These changes are often done to depart from the “spectacle of the everyday,” meaning, giving the audience something they don’t see everyday, or will ever witness in real life. Hollywood often blatantly disregards principles of size and proportion when creating various creatures, which would not be able to survive in the real world, for the sake of entertainment.

 In Short, why this will never happen.
            Large and small creatures are built differently for a reason, and the mathematics used for shrinking and enlarging them isn’t as straightforward as one would think. Just look at basic geometry. If we enlarged something 100x its size, not all dimensions are going to evenly increase 100x as well. If we have a square, with 1x1 dimensions, its area is 1. However, when we increase its dimensions by 2, the area isn’t 2x as large. Instead, 2x2=4, the area isn’t simply doubled but quadrupled! Furthermore, when we take a look at cubes, a 1x1x1 cube has a volume of 1, but when we double the dimensions, 2x2x2=8, the volume is not doubled but 8x larger! As something’s size changes, the correlation in area and volume changes substantially faster than it’s linear dimensions.


            As a result, physiological relationships are affected as well. For instance, the rate oxygen is extracted from the air is proportional to lung size. The rate heat is lost is due to the surface area of the body. And the rate oxygen and food is supplied versus heat produced is proportional to the mass. “If an animal performs well at any given size, size change alone implies that these related functions must change at different rates, since their underlying geometric bases change at different rates; if the animal is to be functional at the changed size, either functional relations must change or shape must change” (LaBarbera).
            Peter Jackson’s King Kong revisits an old film of a behemoth primate that climatically scales the Empire State building. In this modern version of the movie, King Kong is roughly 25 feet tall, 7 times the height of an average gorilla. While it is fun to imagine a gigantic gorilla running rampant in New York and punching out T-Rexes faster than you can say, “Jeff Goldblum,” this would have been physically impossible for a creature of his stature.




One of the better quality fight scenes on youtube.

As mentioned earlier, when the dimensions of something is increased, the mass is multiplied eight-fold. While King Kong is 7 times larger than an average gorilla, which can weigh up to 500 lbs in silverbacks, he would of weighed anywhere from 50-60 tons! That’s way more than just 7 times the standard weight. While this just seems like an impressive number, it is very important in terms of what holds him together: bones. All bones virtually have the same breaking stress, and larger animals push the limits of their own skeletons. According to Andrew Biewener of Harvard, “for the long bones in the limbs of mammals, the changes in shape that accompany evolutionary changes in size are not sufficient to compensate for the increased loads.”
            There aren't too many large terrestrial animals roaming around these days, but we can take a look at elephants as an example. When viewing elephants at the zoo, it's not the fence that keeps these pachyderms contained in their enclosures, but the dry moat that surrounds it. Due to their massive weight, a drop of several feet or so is enough to shatter their bones. The elephants are quite aware of this, and do not try venturing out.


In contrast to the king of the jungle, the largest elephant ever recorded weighed 24,000lbs, about 8 tons, which quite light in comparison to the 50-60 tons King Kong would weigh. As a result, if elephants stretch the limits of what bone strength can handle, King Kong would most certainly be crushing them. At that extreme weight, a land animal wouldn't even be able to stand upright. Therefore, all the running, jumping, and drop kicking that King Kong performs in the movie is virtually impossible because in the process he would be shattering nearly every bone in his body.
            While King Kong most certainly wouldn't be running around at that size, it would be plausible for something of his stature to exist, but under the right circumstances. The largest land creatures to ever exist were Sauropods, some estimated weighing more then 200 tons. However, there are many physiological differences between dinosaurs and mammals, as well as the living and atmospheric conditions on the earth millions of years ago versus today. For simplicity sake, we will compare King Kong to a giraffe since they are close to the same height and are from the same Mammalian class. In order to get blood pumping up 20 feet to it's head, giraffes have elastic blood vessels and special valves in their neck arteries. If given these physiological adjustments, King Kong would have a massive heart and high blood pressure, but he would be able to live (Ewalt). He would however, have trouble feeding himself, since he probably needs to consume 1/8 of his weight a day, just like a real gorilla. This would be about 6 tons of food a day! For a creature that would barely be able to crawl, this would be a tremendous task.  In the movie, Skull Island is home to many giant plants and creatures for him to feast on, but in the real world with extremely limited mobility and average sized vegetation to snack on, King Kong would of had an extremely difficult time surviving. While it is fun to imagine giant monsters and animals roaming the lands, there are physiological limitations as to why they can’t exist outside of fiction.
            Honey I Shrunk the Kids is 90’s Disney staple movie where four kids are downsized to ¼” and have to grab their parent’s attention in order to have their father’s machine change them back. While it is entertaining to see them run from brooms and dust bunnies; it would have been impossible for these children to survive at that size unless some extreme (an unmentioned) physiological changes were made. As mentioned earlier, in order for these extreme changes to be successful, you cannot just change their size to scale and expect them to survive. Large and small creatures and built differently for a reason. In terms of these children, lets say the tallest teen is about 5 feet tall, which is 60.” If they are a quarter of an inch tall, their linear dimensions are down by a factor of about 240 (60” = .25” x 240). Their surface area is 240x240 less, that’s 57,600 less surface area for which they loose body heat. However, their body mass, which generates body heat, has decreased by 240x240x240, which is 13 million times less! While they have a considerable loss in surface area for loosing heat, the part of themselves that generates heat is much more significant. They are going to need more than just a Lego to keep warm, or some major physiological adjustments.
            So how do smaller mammals keep warm? Using the Pygmy Shrew as an example since it’s one of the smallest mammals, weighing less than 4 grams, it’s evident that this is not an easy task. Due to their small size and consequently large surface area relative to their mass, the Pygmy Shrew works hard to stay warm. They radiate heat, and restore heat by consuming food, and lots of it. Specifically, consuming ¾ of their body weight in food a day. This causes them to run into another problem: the time and energy it takes to find food. These types of creatures of have awful schedules; they eat for three hours, they rest for three hours, and then they repeat. If they don’t eat for 2-3 hours, they die. And the colder the air temperature is, the shorter amount of time they can go without food. This is a huge contrast to Honey I Shrunk the Kids, who don’t nearly eat enough to keep themselves alive by these standards. They complain about being hungry, but the only thing they consume during their 24 hours of being small, is some cookie and frosting. While they need to consume a snowman-sized quantity of food in order to survive, they eat enough cookie to amount to a piece of cake. This is nowhere near enough the ¾, and possibly even more, weight of food they would need just to stay alive. Additionally, they sleep soundly through the night without having to forage for food every few hours, and wake up the next day without freezing to death.   
            In Honey I Shrunk the Kids, Rick Moranis’s character Wayne Szalinski invents a shrinking machine that accidentally goes off on his children while he is at a conference. At said conference, Szalinski explains, “All matter is made up of not only density but of empty space, and if we can proportionally reduce the amount of empty space in any given object, we can, thereby, shrink the object.” This is laughable in terms of shrinking object since reducing so called “empty space” would just increasing an object’s density, it would have the same amount of mass but in a smaller package. Furthermore, it is even less likely (well, impossible) in terms in of safely shrinking human beings!
            Atoms, the building block of this world, do not scale. They are fixed; there is no way to reduce the size of a proton, neutron, or electron. One would not be able to change the number of sub-atomic particles while maintaining the same chemical characteristics. A farfetched possibility to shrink a human would be to reduce the number of atoms in the human body. However, this is an impractical task, which one would need to figure out which atoms could be removed without destroying vital organs and altering cells. This is absurd, since there is no way one could reduce the human brain to the size of an insect’s by removing atoms and believing it would not impact their mental capability. On the cellular level, these structures function based on their atomic makeup, and altering it would drastically change how the body operates (Dunder). In contrast to the film, Szalinski couldn’t even shrink an apple without it exploding, and somehow his own children are able to undergo his machine without any visible side affects. Inconceivable! If Honey I Shrunk the Kids was true to life, these children would of suffered brain damage, countless genetic and physical mutations, and quite possibly unable to sustain life. However, drooling, dying blobs of human remains isn’t very Disney, so they ride an ant instead.

Good luck with that....
            Aside from shrinking four children to the size of lint being completely futile, the physics of Honey I Shrunk the Kids aren’t accurate either. The four children are smaller than a Cheerio and have to survive against harmless everyday objects that are now quite threatening, such as water droplets, bugs, and mud. While life on the small size is much different than our daily lives, Disney makes these look like they’re running around in a giant playground, rather than actually surviving at a small scale. For instance, when flying on a giant bee, the boys hold on for dear life and sustain injuries when they fall off. One boy is knocked unconscious, and both have cuts on their lips. However, they did not need to be terrified of falling off, nor should they have sustained those injuries. All objects have terminal velocity; an object accelerates as it falls until it reaches this constant speed. Or hits the ground, whichever comes first. For normal sized humans, this is 120 mph, which is quite deadly. However, as objects get smaller, gravitational pull decreases more rapidly than drag, so the terminal velocity decreases as well (LaBarbera). As a result, small animals such as squirrels and mice, cannot be hurt from any fall no matter how high. Consequently, the children that are much smaller than mice in Honey I Shrunk the Kids, should of just walked away without a scratch.

Movie set or giant playground/tourist trap?
            There are several other inconsistencies with Honey I Shrunk the Kids that make it feel like a super sized playground, rather than the point of view of an insect. Towards the end of the movie, one of the boys falls into a bowl of Cheerios that Moranis is eating. Being the size of lint, he should have just floated on the surface since his mass and size aren’t large enough to break the surface tension. However, he splashes right in and nearly drowns in the milk. While his father was dipping in a spoon and causing some disturbances in the liquid, this does not explain why the boy initially splashed right in. Consequently, it’s quite hard to get something that small and living immersed in liquid. For instance, if one is in a pool and tries to remove a struggling bug by splashing it out, the bug remains at the surface, and usually unfathomed by the splashing. Due to certain childhood experiences, it is common knowledge that it is quite hard to drown a bug. In regards to the movie, the boy should have just floated at the surface.


Not how the movie ended! But you get the water/milk tension idea.

            Another instance in which the kids didn’t seem like they were in a small world, was their struggle to pick up objects. Their need to use teamwork to pick up the miniaturized couch, their struggle with climbing up a flower steam and into a Lego shows an unrealistic representation of lifting capabilities of smaller creatures. “The forces that a muscle can produce are proportional to its cross-sectional area (length squared), while body mass is proportional to volume (length cubed). The ratio of an animal's ability to generate force to its body mass scales approximately as 1/length; smaller animals are proportionally stronger. This geometric truth explains why an ant can famously life 50 times its body weight, while we can barely get the groceries up the stairs; were we the size of ants, we could lift 50 times our body weight, too” (LaBarbera). According to our math earlier, the children’s relative strength should of increased 240 fold. They should be zipping up and down all the flowers they could find, and quickly made it back to the house due to their increased metabolic rate. However, Disney, and other Hollywood studios, often shrinks down their characters without portraying a realistic representation of what it really is like to be less than an inch tall.
            After discussing the extremely small and immensely large to scale adjustments Hollywood does to creatures, the movie industry will do the same to proportions. For instance, Jessica Rabbit from Who Framed Rodger Rabbit? is a prime example of this. While Jessica Rabbit is more “realistic” then most of the cartoons in the movie, she has been created to push the boundaries of what is humanly possible, to the point where it is too far.


            For instance, the most extreme and dangerous change would be her unnaturally tiny waist. In contrast to average women, she appears more like a tight-lacer: women who wear extreme corsets to dramatically change their waist size and figures into hourglasses, with or without the corsets. The most extreme case of this was Ethel Granger, who shrunk her waist permanently to 13 inches! When Ethel was in her 50s, she could support herself for only a few minutes without the corset, her abdomen and back muscles had atrophied over decades of tight-lacing. While most hardcore tight-lacers don’t make it past 16inches, it’s still a dangerous hobby. The lower ribcage is contracted into a cone which compresses the lungs and only allows shallow breathing, the liver and stomach are forced downward, and there are many cases of fainting, cracked ribs and internal bleeding due to this old fashion statement. Consequently, Jessica Rabbit would have been no exception to this painful lifestyle. One doesn’t have to look at many pictures of her to notice how large her head is compared to her waist. I measured my head and it’s about 22 inches in circumference, and my waist is about 29 inches. Her head on the other hand is quite larger than her waist, suggesting a 16-18 inch waist, impossible to achieve without fabricated help. Even Christina Hendricks, who has been dubbed a “real life Jessica Rabbit,” has a 30 inch waist.
 
  VS
       Tightlacer with Fake Waist and Goods, Bleh!          Christina Hendricks, All Natural and Beautiful!                             

            While it would be painful but possible for Jessica Rabbit to walk (not run) with a petite 18 inch waist, there are other aspects of her proportions that would make her life even more excruciating. Specifically, her biggest “assets.” To put it bluntly, her rack is huge. It’s part of the huge sex appeal that was in mind while creating her. While the animators where looking at women like Rita Hayworth and Marilyn Monroe for inspiration, it’s obvious that men were doing all the drawing. And no one knew basic physics either. In comparison to the rest of her body, Jessica is quite top heavy. Her center of gravity is quite high, and forward. Her body would want to tip forward all the time, which would require constant work for her back muscles if she wanted to prevent this. As a result, it is not uncommon for women with natural, extremely large breasts (F cup and above) to long for breast reduction surgery because they are tired of the constant back pain due to holding their top-heavy torsos up. On top of the unsupportive small waist, trouble breathing and back pain, Jessica would be running around with the world’s most tiniest feet, making balancing an even tougher act. In other words, while Jessica Rabbit is drawn to be desirable character, no one in there right mind would actually want to be her, as a result of the all the pain her body would be going through.
            As mentioned earlier, Hollywood will often shrink, enlarge or alter man and beast to create an entertaining film spectacle. However, these alterations are often beyond the limitations of what is feasible. Due to circumstances in the movies, these may first seem believable, but upon closer inspection, wouldn’t work in the real world. King Kong came from an island untouched by evolution for millions of years, but unless his bones were made of something stronger than bone, he would collapse. Honey I Shrunk the Kids was made possible by a nutty professor’s invention, but the human body is far to complex to safely shrink to something the smaller than an insect. On the other hand, Jessica Rabbit does live in a cartoon. So maybe she’s immune to the back pain, foot pain, crushed organs, and labored breathing that would normally afflict women from being in that state 24/7. This is all justified in the movie industry’s attempt to have us escape our everyday lives. In short, Hollywood often breaks nature’s rules of size and proportion in the pursuit of a captivating movie to grant its viewers a break from the mundane.

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Giving Credit Where Credit is Due


LaBarbera, Michael C. "The Biology of B-Movie Monsters." UChicago.edu. 2003. Web. 17 Nov. 2010. <http://fathom.lib.uchicago.edu/2/21701757/>.


Ewalt, David M. "The Biology Of King Kong - Forbes.com." Editorial. Forbes.com - Business News, Financial News, Stock Market Analysis, Technology & Global Headline News. 12 Dec. 2005. Web. 17 Nov. 2010. <http://www.forbes.com/2005/12/12/king-kong-biology_cx_de_1213kongbiology.html>.


Dunder, Jonathan. "Miniaturization and Its Plausibility - The Free Information Society." The Free Information Society - Educating and Entertaining since 2003. Web. 17 Nov. 2010. <http://www.freeinfosociety.com/article.php?id=55>.


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Turned out WAAAAAY longer than I anticipated. I wrote the Honey I Shrunk the Kids part of my paper first, went to town on it, and pretty much surpassed the necessary word count just in that section itself....  Had a lot of fun writing this, but it was much longer and time consuming than I thought.

Tuesday, November 9, 2010

Fact or Fiction: Term Paper Two Outline


I. Introduction
   A. Overview: While creating giant monsters and tiny people, the movie industry often doesn’t take into account the changes that would have to be made in order for those creatures to survive at different scales. In order for these extreme changes to be successful, you cannot just change the size to scale and expect them to survive. Large and small creatures and built differently for a reason. Jessica Rabbit is thrown in for good measure as an example of going crazy with proportions rather than size.
   B. Thesis: Hollywood often blatantly disregards principles of size and proportion when creating various creatures, which would not be able to survive in the real world, for the sake of entertainment.  

II. King Kong (Peter Jackson’s)
   A. Changes in Physiology
              i. Would require changes in blood vessels and arteries, similar to giraffes. Big heart and high blood pressure
            ii. Would require a massive amount of food
   B. Impossible for a Creature of That Size to be That Mobile
            i. Bones density not strong enough
            ii. Would have a difficult time just standing upright
            iii. Would crush if he tried to run and jump as seen in the movie

III. Honey I Shrunk the Kids
   A. Different Physiological Needs
            i. Would have a hard time maintaining body heat, unless there was an increase in their metabolic rates.
            ii. Like many small mammals, would have to eat nearly their body weight in food a day. Would also require more water. Don’t eat nor drink enough in the film.
            iii. What happens when one shrinks? Do cells and molecules decrease or shrink/split? Impossible.
   B. Size in Relation to Object/Elements Inaccurate
            i. Would not have to worry about falling from any height, since their terminal velocity is so low, they would just bounce. Like a bug flying into a window. Still afraid of heights.
            ii. Smaller than an ant, should not be able to break surface tension of the milk in cereal bowl, but nearly drowns anyways.
            iii. Would be able to lift about 50x their weight, just like ants and other insects, but still struggle with lifting many objects

IV. Who Framed Rodger Rabbit?-Jessica Rabbit
   A. Physically Impossible Proportions vs Real Women
            i. Extremely small waist, what happened to her inner organs? Examples of women crushing and shifting their insides due to extreme corset usage
            ii. Are her arms and hands large enough to fit bone?
            iii. Measurements vs. Dolly Parton and other extreme cases
   B. Would not be able to function/walk normally due to gravity
            i. High and frontal center of gravity, would fall on her face.
            ii. Back pain much? Women with extremely large natural breasts often want breast reduction due to the constant back pain from supporting their heavy chests. 
            iii. Tiny feet, very small, would not be able to support/balance herself

V. Conclusion

Wednesday, November 3, 2010

Stop Motion Character Animation

JOY RIDE



 

Silly Unique stop-motion animation of Kaneda's bike getting stolen, the havoc the thief creates, and obtaining help from an unlikely friend.

As a team, we all worked together and helped out during the production of this film. We collaborated on the story together, based on what objects we had. Did a quick, basic story board, and added scenes as we saw necessary.  During the filming, we each took turns animating and working the camera. We would often review the scenes we just shot to see if there was a general consensus to move on, or to re-shoot the scene to make it better. The workload in terms of filming was divided pretty evenly, and the editing was done by Becky and Lucie Roberts.

We tried using characters that were pose-able in order to convey a more diverse range of motion. The Ork laughing on the bike was a good example of this, whereas Kaneda could only move his upper body so much before he fell flat on his face (which he often did). Character movement with these figures were done with slowing in out in mind to make the movements more realistic, but hard to mark or gauge beforehand, so a guess, test and revise approach was used. The bike scenes were more impressive because we were able to measure and mark the ground where it would speed up, slow down, turn, or settle after a stop. For some of these, the camera was placed on a tripod, which was fixed on top of a skateboard for a smoother pan. The plush and non pose-able figures were the some of tougher characters to animate, especially in terms of having them look like they're falling over, most could only remain upright or face down and nothing in between (ex. the baby). There was only so much magic our kneaded erasers and double stick tape could do on concrete. On the other hand, the plush figures were fun to animate in terms of portraying squash and stretch, since their shape isn't as ridged as plastic, as seen with Togepi falling on his face.

Some specific animation I did includes (in order of appearance):
-Kaneda shaking his fist
-Kaneda addressing Professor X
-Ork/motorcycle nearly swerving into Professor X
-Pokemon: Togepi, Blubasaur, and Psyduck
-Professor X chasing Ork and summoning Narwhal
-Kaneda waving and wheelchair

Got a lot of laughs and had a lot of fun making this. =)

Tuesday, October 26, 2010

Reverse Video of Walking

Clip A



Clip B

 
(blurry, since flipped, better viewed full screen)

Clip C 
 

Definitely spent more time on the first two than the last. Found it very difficult to walk in that position, the same way as the primate. Specifically, keeping the back straight/lower back down while not kneeing my chest in the process as I tried to walk. And getting the steps to alternate from opposite sides when my body wanted to move both limbs on the same side at the same time, was also difficult.

Tuesday, October 19, 2010

The Laws of Physics in an Animation Universe

Cats Don't Dance

             Once upon a time, there was a princess and a peasant…. Cats Don’t Dance is an animated feature film about never forgetting one’s dream’s, in this case, getting that big break in the Golden Age of Hollywood.  Specifically, this film wants to transition the feeling of the fun, playful, sophistication that is the Golden Age of the MGM musical. This era began in 1939, coincidently the same year this animated film takes place. MGM musical films were full of cinematography, smooth signing and effortless dancing transitions, but most of all, the self-reflexive pleasure of being in show business.  From the people who brought you Looney Toons, Warner Bros. Studios (WB) released Cats Don’t Dance in 1997, with choreography help by MGM musical legend Gene Kelly (Singing in the Rain) and the brassy singing talents of Natalie Cole. The story follows Danny, a cat from a small town in Indiana who travels to Hollywood to follow his dreams of becoming a star. Once he arrives though, it is evident that the only thing selling in Hollywood is the adorable Darla Dimple. While she may appear to be sugar, spice and everything nice, she is really: 2 part Shirley Temple, 2 parts Cruela DeVil and 1 part Jack Nicholson from The Shining (because she teeters on the fine line between “needs anger management” and “batshit insane”). Because of her, animals don’t become stars in Hollywood; they are just swept into the corner to become nothing but extras. In order to highlight the playful feeling of the MGM musical, the physics of Cats Don't Dance fluxuates from "normal" to extreme throughout the film to put the characters in outrageous situations which eventually leads them to their big break, in true Warner Bros. animation fashion.
            Throughout Danny and the gang’s pursuit to become stars, it is evident that force and gravity’s basic principles are bent in this version of Hollywood. Cat’s Don’t Dance starts off like a musical should, with an optimistic song and dance. Here, Danny just arrived in Hollywood and captures the essence of the MGM musical perfectly. 

Danny's Arrival, and Pudge, the most adorable fat penguin. Ever.

However, in order to capitalize on the fun and playful factors in these musicals, WB decides to break some general rules of physics. Danny is able to float across the screen as he effortlessly helicopters and back flips around Hollywood Blvd. Gravity doesn’t have the same hold on Danny as opposed to our universe. The exertion required to move around like that is astonishing, but he pulls it off without a sweat. This effortless style is reminiscent of Signing in the Rain’s “Make ‘em Laugh.”

Make 'em Laugh
 (Unfortunately, the videos I found of this scene from the movie had the "Embedding disabled by request." But just click on the link and it will lead you to the video)
One of the exceptions to physics in Danny’s arrival is Newton’s Law of Inertia. This states, that an object moves with constant, uniform motion until acted on by an unbalanced force. One example of this is if you’re standing on a moving bus going 30mph, you too are traveling at 30mph. But when the bus stops, you lurch forward because your body is still moving at 30mph. However, when Danny is singing and dancing around on top of cars and trolleys, he is practically unaffected when these vehicles stop and go. It is evident that the Law of Inertia isn’t as prevalent in this universe in order to give the characters more independence. As a result, everything they do looks easy in order to convey the effortless sense of MGM musicals. Because of this, Danny fits right into the MGM musical era.
             While Danny escapes Newton’s Law of Inertia, someone else is able to bend her center of gravity depending on her mood. Danny comes from a small town and truly believes he can be in his first big picture within a week. However, the only part he can get has one line, “Meow.” Danny decides to “jazz this up a bit,” which causes Darla to have a brain hemorrhage. So she sends Max her enormous King Kong/manservant to put him in his place. This ends up breaking Danny’s hopeful spirit.


(watch from 3:20, or earlier if you like!)
AND ALL OF THE PEOPLE DROWNED! 

In this clip however, it is clear that some of gravity’s rules are being toyed with. Darla, who has an immense head for the size of her body, can support herself upright while being held by a single rope. She is able to twirl and dance midair like an angel while maintaining an upright position. As shown with the Ken doll demo in class, if you hang an object, the center of gravity (CG) is directly below the string. In Darla’s case, if the rope is attached to the middle of her back, she should be tipping forward onto her face or even upside down depending on how heavy her head and legs are. In order for her to stay upright, she would need some sort of weight on her back (maybe the angel wings are made of lead?) or a second rope. In spite of this, when Darla has a temper tantrum, she does lose her balance and flail around to regain it. She hangs and wobbles in such a way that would be more appropriate for someone of her stature. Cat’s Don’t Dance, follows some basic rules of gravity, but chooses when and where to follow them depending on the situation. When she is singing, dancing, and everything is going her way, she is in control of her CG. This capitalizes the effortless feeling of the MGM musical. But when something upsets her, she loses control of her CG as well as her temper. Darla and her relationship with her CG emphasize her wild mood swings, which conveys how out of place she is in this type of playful film. As a result, Darla will soon be out of date in this upcoming age of the MGM musical era.
           Throughout the film, it is evident that the bigger the character, the exponentially heavier they become. This allows for more opportunity to get the characters in outrageous situations that normally wouldn’t be possible. This effect is seen with three large characters; Tilly the Hippo, Woolie Mammoth the elephant, and Max the ape-man servant. In the middle of the movie, Tilly simply leans against a single story diner and actually moves it off of its foundation. While she is 2-3 times larger than most characters, this wouldn’t normally be possible. Then towards the end of the movie, Woolie Mammoth sits down in a movie theater, and ends up catapulting nearby moviegoers up in the air. They fly straight up out of the frame, but never fall back down. The fact that they were catapulted and never to be seen again, simply by him plopping into a chair, suggests that he weighs more than a typical elephant. But his buddy, TW the turtle, gets their seat and popcorn; so it’s all good! Furthermore, Max the behemoth man who can’t possibly be human, is constantly crushing the ground as he walks and can rip apart industrial pipes faster than you can say, “Hulk smash!” It is clear and established that the greater the size, the exponentially greater the character’s weight and strength becomes.
            However, upon closure inspections, there are reoccurring contradictions to this rule. While these characters can move buildings and crush the ground they stand on, they are still able to function with certain everyday things like normal people, when their immense weight should prevent this. While Tilly moves an entire building just by leaning against it, she can also sit down on a normal wooden bench without breaking it. In addition, Max must literally weight tons in order to crush compressed concrete as seen in the first clip. So how can we figure out how much Max weighs?
 He would also fall flat on his face because of his CG and leaning forward like that, but my paper is long enough....
Later on in the movie, Max chases Danny on top of a parade-sized Darla Dimple balloon while it’s still floating. These balloons typically require 40-60 people to hold down during a parade. If the average balloon carrier is about 200lbs, then 8,000-12,000lbs is required to safely hold one down, which is 4-6 tons. So, if the balloon remained in the air, it is safe to assume that Max weighs less than the 4-6 tons needed to hold down a giant balloon. So with that weight in mind, would he be able to stomp through a compressed concrete floor? Keep in mind that due to its strength, compressed concrete is a material that skyscrapers are built on top of. And in order to chisel out concrete, one needs a hydraulic splitter that exerts a force between 350-400 tons. If he consistently weighed less than 6 tons, there would be no way he could be able to crush concrete by just stepping on it. Maybe if he jumped, or found a way to apply more force, but he shouldn’t be able to do this just by walking. However, in regards to many other impressive tasks he completes in the film, it is clear that WB found these weight changes essential to the character interactions. While a character’s large size is just the tip of the iceberg when it comes to indicating their immense weight and power, this universe’s principle is contradicted in order for it’s behemoths to fit into their Hollywood society. 
 Max, you can either crush concrete or ride the balloon, you can’t have both!
            As evident in many of their animations, something that is prevalent in WB animation is the use of squash and stretch to emphasize action. This is necessary even in realistic animation, because if one simply traces over reference footage, it turns out feeling stiff. However, WB and other animation studios often stress this to convey more movement and to make the sequence more fun. In the last scene, when Danny and the others finally have their chance to show the world what they can do, the squash and stretch is very evident.

(watch from 6:40 on, and then part 8 to see the end since this movie was cut into parts a bit awkwardly)

As the animals showcase their talent, they look flawless. There are some instances where there is extreme squashing and stretching, but it is done to highlight their importance and talents. Often, the singing character will tilt their head forward to the screen, but their head becomes bigger than just a perspective change or a camera effect. This is done to convey their Hollywood attitudes to show that they are finally in control of what’s going on, and that they will soon take over the big screen. In addition, there are a couple times when Danny sings, his neck stretches several times its normal length. In one instance, his adam’s apple shoots off his bow tie as he hits a high note. This is to visualize his singing talents. As for the other characters, they squash and stretch themselves as they line dance and do their own thing across the stage. Overall, the whole performance is a fun, graceful, and effortless showcase of talent that flawlessly embodies the MGM musical.
            On the other hand, Darla’s squash and stretch has no elegance and often gets her into trouble. You can just sense the evil in her hair, dress and bow as she scuttles around to preserve her monopoly on Hollywood. Her bow becomes devil horns, and the bounce in her hair and clothing is very sudden and a bit sporadic. It’s nowhere near as graceful and playful as the female cat’s Sawyer’s (the female cat’s) dress and tail. The animals fit perfectly into this MGM musical universe, while Darla is too ridged and stubborn. In addition, she performs all these difficult feats like climbing circuit breakers and manhandling serious stage equipment. As she tries to sabotage the animal’s chance, she is often catapulted across the backstage area, even becoming a pancake at one point when she tries to set off the smoke machine. She tries so hard to ruin these animal’s dreams but the deus ex machina effect of the MGM musical universe just keeps shutting her down. As a result, she ends up enhancing the animal’s performance, which blows the audience away and ultimately gives them their big break. Because Darla tries so hard in a universe where things are supposed to look effortless and easy, she literally falls flat on her face.
            Cats Don’t Dance is a tribute to the MGM musical that plays around with physics in order to convey the same playful and effortless feeling. Throughout the film, force and gravity’s principles are bent to showcase who fits into the MGM musical mold, and who doesn’t. In addition, large characters have changing weight in order to cause hilarity ensuing destruction, as well as allowing them to sit next to their friends on a bench. Finally, the squash and stretch ending solidifies who is going to make it in Hollywood, and who is going to get the boot. In memory of the late Gene Kelly, Cats Don’t Dance is a lively film that is reminiscent of an era where the streets were paved with gold, and breaks a few rules of physics to emphasize the fun, effortless, and playful nature of the MGM musical.


-----------------------------


I tried making clips myself from the video file I have of the movie, and the clips would play fine on my computer. But when I uploaded it to my blog or youtube, the syncing between the video and sound was off so it was very distracting. Instead, I found a couple clips from youtube and indicated where to start watching.


As I was writing my paper, my thesis ended up changing a bit, which changed my whole approach to the paper. So here is my updated outline:


I. Introduction
   A. Modeled after the MGM Musical
   B. Short synopsis: Animals trying to find their big break in Hollywood.    
   C. Thesis: In order to highlight the playful feeling of the MGM Musical, the physics of Cats Don't Dance fluxuates from "normal" to extreme throughout the film to put the characters in outrageous situations which eventually leads them to their big break, in true Warner Bros. animation fashion.


II. Force and Gravity’s Principles are Bent
   A.  Danny
            i. Gravity-floats around
            ii. Doesn’t abide to Law of Inertia
   B. Darla
            i. Center of Gravity
            ii. Depends on her mood


III. Large Characters are stronger and heavier than their size suggests
   A. Large Characters
            i. Tilly
            ii. Woolie Mamoth
            iii. Max
   B. However, this is contradicted because their weight fulxuates
            i. Tilly weight can move a building, but she can also sit on a bench.
            ii. Max can break concrete with his feet
            iii. Can also ride a balloon. Can’t do both.

IV. Squash and Stretch Finale
   A. Animals
            i. Neck stretching and face enlarging.
            ii. Accentuates dancing
   B. Darla
            i. Ridged movement of devil bow and clothing
            ii. Bounces all over the place, not graceful
            iii. MGM Musical deus ex machina

V. Conclusion

Monday, October 11, 2010

Laws of Physics in an Animation Universe: Outline

Cats Don't Dance
 
I. Introduction
   A. Short synopsis: Animals trying to find their big break in Hollywood.
   B. Thesis: The physics of Cats Don't Dance fluxuates from "normal" to extreme throughout the film in order to put the characters in outrageous situations, which eventually leads them to their big break.

II. Weight is Constantly Changing
   A. Tilly/Hippo
            i. Moves a whole building just by leaning on it.
            ii. Causes goat to fly across the room, into a wall just by bumping into him.
            iii. However, she can still sit on a normal, wooden bench without breaking it.
   B. Elephant/Wooly
            i. Catapults audience members up in air just by sitting down next to them, the scene lasts for another 20 seconds and these people never fall back down.
            ii. But, can sit on a tiny stool while playing piano without breaking it.

III. Gravity is Inconsistent
   A. Darla
            i. Hangs from a single rope around her waist, but remains upright, this is impossible because her huge head would cause her to tip down due to her high center of gravity.
            ii. Once things “go wrong” and she’s not in control/singing, she wobbles franticly all over the place and no longer is upright.
            iii. Feet are extremely tiny, almost like a pencil eraser, does not establish enough of a base of support to prevent her huge head from falling over as she moves.
            iv. In the beginning of “Big and Loud,” the table drops down through a trapdoor and is replaced by a piano, Darla is sitting on top of the table but doesn’t move at all.
            v. When the piano is replaced by the same table, she is now propelled upward, not staying in place.
   B. Max Punching Through the Roof
            i.  Scene first starts with the rubble from the punches almost levitating, which takes a second or two to start falling.
            ii. The very next shot, rubble falls at a faster, more “normal” rate.
   C. Objects Falling/Arcs
            i. Director, Mr. Mammoth and Tilly consistently fall/fly through the air straight for almost a minute, only to plummet straight down later.
            ii. Agent’s cigar starts to go through a parabolic arc, only to jump up again without any interaction with anything else.
            iii. When Wooly sits down and some audience members are catapulted upward, we never see these people again, but their popcorn lands straight into the turtle’s lap.

IV. Amount of Liquids Don’t Stay Consistent, Liquids Can Increase Mass
   A. Flooding Warehouse
            i. Warehouse is about 100 feet tall, and much bigger than a football field, fills up completely with water in just a few minutes.
            ii. Once the water is released from the warehouse, it runs through town like a river, not an emptying pool. Amount of water required for this is way more than what was in warehouse.
    B. Disgusting Sandwich.
            i. Bread produces juice, no sandwich could hold/leak that much liquid. Sweats mustard.

V. Conclusion




Had fun re-watching this childhood favorite of mine. However, I am a bit confused about 2 of the requirements for this paper:

"Point out any scene that possibly contradicts one of the hypotheses.
Present at least one competing hypothesis and identify one or more scenes that contradict it." 


If we create a successful/consistent hypothesis, then wouldn't there be no contradictions? Mine are not specific enough to find scenes where they can't apply, like my "gravity isn't consistent" hypothesis. I'm just a little unsure about how to approach this in my paper or if I am going about this the wrong wasy and need to re-evaluate my hypothesises. 
 

Wednesday, October 6, 2010

Stop Motion Animation of Falling-Acorn Drop



I had a bunch of acorns lying around from summer, so I thought that would be a cool item to drop. Although, I did have to go hunting for the right leaves since acorn's don't fall off of lemon trees. Then I had to glue branches together because the one's I could find were too short. Then I couldn't find glue, ect. 

I did this locked up in "bathroom studio" to prevent the cats from playing with my project. I sketched out the drop rate and path in a light HB pencil using the odd rule. Firs,t I was using my digital camera, but the legs of my mini tripod are made of that bendy/wirey material often used on adjustable lamps. This cause the camera to move every time I accidentally grazed it, thus ruining the consistent background. Later, I used Sam animation on a laptop since that was more forgiving. Overall, I am pleased with the acorn drop itself, except for the end when the acorn cap has a seizure or something.  Big thanks to Cory and Hillary for being there for me.

Tuesday, September 28, 2010

Video Analysis of Path of Action

Original Jump Clip
Wheeeee!


Screen Shot of Tracker



Jump Clip In Tracker


Unfortunately, my computer is having issues with the "Save As" option in the "Capturing Quicktime MOV" window. I'll play the jump I want, pause it once I am done, but when I save it, it is no where to be found. I've tried saving it in different places, closing and reopening tracker, searched my computer, but it's not here. It just doesn't save the quicktime mov. *sad face* 

Wednesday, September 15, 2010

Tracker Analysis Video-Falling

Hardest part was converting my M4V into AVI. And then figuring out where the "full trails" option was. I was looking at the pdf of the lecture notes, but the instructions on the website were more helpful in terms of where to look. I was orginally looking in the new "track control" window, and the only button was "mass a" and nothing under that had trail options. Thanks Mickey for helping me out, or I would still be looking for that option. 


Bonus Falling Video:
Corgi Flop  =D