Busy or Just Lazy

• Learned

 After effects seems pretty neat so far. I'm glad to have some basic knowledge of the program.

• Want to learn

 More about After Effects and how it can be used for animations (because I have a pretty good feeling that it can)

• Frustrated you

 Kinetic Typography storyboards are hard... *whines*

• Made you happy

 Chats with friends >w< You know who you are

• Link of interest (and a boot to the head)

 https://www.youtube.com/watch?v=vFldBVWFgWo

• BOOT TO THE HEAD!!

Just a funny video in general. I thought that the sprite manipulation was pretty good and everything went pretty well with the audio. I would love some context, but I don't even care. This video is just plain funny. So many boots to the head!

Foley-ing Around

News flash: rarely are sound effects and foley shot during the film recording. It was added after the video was captured and recorded in a separate location by a specific person in charge of recording them (audio mixer, music mixer, and sound effects mixer). This kind of audio can be broken up into a few different categories: Ambience (background noise), library effects (sound effects that can't be recorded on the set for one reason or another), and foley (sound effects of character actions/props). Foley originated from Vaudeville which was a series of theatrical performances that used drums and other instruments to add emphasis to movements. Later, Vaudeville was replaced by radio and moving pictures which used similar methods to help tell a story. Sound effects in moving pictures were revolutionized during the transition from silent film to talking film. Audiences began demanding sound from movies when Warner Bros. released the talking film Jazz Singer. There were issues however. Timing and synchronization were an issue. Jack Foley had a solution. He watched the films and recorded live sound effects to go along with them on a single track, since multiple tracks were unheard of at the time. Foley's process was called Direct-to-Picture before it was later renamed Foley in 1962. Now, the people in charge of the sound effects and foley meet with the director and discuss what needs to go where and when. This is done through cue sheets. Foley artists often record in special offices that contain various different types of surfaces to walk on and shoes and props, etc. Foley artists even use a variety of tricks to simulate the sounds that they can't (or shouldn't) make such as celery for breaking bones and coconuts for horse hooves (how did they get it? Birds?). Remember, sound is an important part of any production. You could have the best footage in the world but if the sound is crud, then the film will be crud too. Remember, effective use of audio can separate an amateur home movie from a piece of cinema.

 The article was informative and useful. I learned about the history of sound effects/foley and how to create such things. How difficult is it to sync up audio when it is clearly off sync? Audio is everywhere and it is hella important. Take just as much care of you audio as you do your video.

References and Planning

References and smart planning are very important important when it comes to animation. References can help you find just the right pose you are looking for. A wide variety of media can be used for reference such as personal recordings, photography, comic books, film, and animation. Reference is NOT A BAD THING. In fact, it is a very practical and very wise practice. It is not "cheating" or "wrong" to use references. If utilized correctly, proper referencing can greatly enhance your work. Books of references created by Eadweard Muybridge (for run/walk cycles) and Dr. Harold Edgerton (slow motion photography) are amazingly useful to any animator and show how the principals of animation apply even to reality. Comic books are also particularly useful for referencing because not only do some of the artist who made the comic books have animation experience, comic books are chock-full of dynamic and super rad poses to reference. Also studying video and animated references is a good idea. Not only do they provide for some great poses, the people who took the shots knew what they were doing. Learn from those who have the knowledge you seek. Good references can be found all over these sources of media. Even if you can't find a reference for a person throwing a spear, you can probably find a good reference of a person throwing a javelin. And home recorded references can be a godsent. You know what you're looking for and after recording it a million and one times, it can yield a result pretty similar if not perfectly matching  reference you were looking for.

Knowing how to use the references is just as important as having the references. Copying the references often leads to a less appealing and less lifelike product. Integrating the ideas into your work and studying them and learning what makes them good references is key. Results may vary however. Animation isn't a "one method fits all" thing, but planning is an absolute must. The basics and the fundamentals and proper planning can not be ignored if you want your animation to be the very best that no animation ever was.

Makes complete sense. Don't have much of an opinion on it. I guess the tips were pretty cool. References are good. Without a doubt. I completely agree with what the article is saying and I appreciate the resource suggestions. How do you properly use a reference? Like, do you just look at it, or is there more to it? Everyone should use resources. Nobody is an exception.

Eadweard Muybridge

Photography, comic-books, live-action movie reference, animated reference - See more at: http://blog.animationmentor.com/how-to-create-character-animation-poses/#sthash.cjknVIPe.dpuf

Photography, comic-books, live-action movie reference, animated reference, and footage of yourself and your friends acting out a scene - See more at: http://blog.animationmentor.com/how-to-create-character-animation-poses/#sthash.cjknVIPe.dpuf

Photography, comic-books, live-action movie reference, animated reference, and footage of yourself and your friends acting out a scene - See more at: http://blog.animationmentor.com/how-to-create-character-animation-poses/#sthash.cjknVIPe.dpuf

Photography, comic-books, live-action movie reference, animated reference, and footage of yourself and your friends acting out a scene - See more at: http://blog.animationmentor.com/how-to-create-character-animation-poses/#sthash.cjknVIPe.dpuf

Life goes on

• Learned

 I've been doing more working than learning this week, so I don't really have much to put here. I messed with some screen cap programs and I got a feel for those. I also learned that exporting can take not forever, Five-ever

• Want to learn

 I wouldn't mind getting some knowledge on After Effects and I really wish I could learn some of the animation techniques that are being taught this year in the animation class. I miss that class...

• Frustrated you

 I've been frustrated for a lot of reasons. First off, I kept messing up with my documentary. It has been a living HELL. And as a result, I nearly lost all hope. I don't like how I get so intimidated by large projects and how I always fear that I will never get them done despite how well I may or may not actually be doing. I second guess myself too much.

• Made you happy

Ghost. Enough said.

Well, my close friends have been quite a pleasure to talk with to and work with.

Behold... a tumblr post by Mystery Ben on tweening a turning head
http://mysterybensmysteryblog.tumblr.com/post/102155743148/hrm-this-is-a-tricky-question-as-the-exact-answer

Oh my god, I love this blog so much >w< It's been so great. Ghost was an amazingly AWESOME 2D animation done in freaking ADOBE FLASH! Ugh, I love it so much

As for the article itself, I like how Ben kind of breaks down his method of tweening a head turn. It's simple yet practical and I'm 100% positive that this reference could even apply to the new animation program being used by the animation class.

"Cuz' the world might do me in
It's alright cuz' I'm with friends
Cuz' I'm giving up again
It doesn't matter..."

Cuddly Warm Marsmallow 6

When you think of the word "robot", what is the first thing that pops into your mind? Perhaps a big clunky and sharp tin can beast powered by diesel and pistons? Do you think of Baymax? He is a robot. But his appearance might throw you for a loop. He is indeed a robot, but he is not designed like the average film robot. He is soft and squishy and full of hot air (well, some kind of gas at least). One might take one look at adorable little Baymax and think, "that kind of robot is completely unrealistic! Robots can't be soft!" Much to everyone's surprise, Baymax is backed up by scientific research in the real world. Don Hall was inspired by his trip to Carnegie Mellon University's Robotics Institute where he saw inflatable robotics. He saw that this type of robotics would be more beneficial in a home setting where things are more easily breakable and require a much softer touch. Baymax however is still very much a work of fiction, since soft robotics is still under development and no full-sized humanoid soft robots have been built yet. This technology is still under investigation around the world and could one day inhabit our homes, becoming our new caretakers in weakened or frail states.

I thought this article was pretty cool. I had no idea that soft robotics was even a thing. Uh, I learned that soft robotics was a thing... How long will it take for me to get my hands on a Baymax of my own? Haha. Keep your eyes to the future and don't be content with the same old, same old. Disney has proven their creativity time and time again by taking inspiration from the world around them and new technologies. We could all learn a lesson or two from Disney on inspiration alone.

Let's Build a Black Hole

Today we will be discussing the science behind the film Interstellar. Interstellar takes place on a failing planet, Earth. After years of crop failures and the final generation of humans born on Earth, it is painfully clear that mankind has to expand onto other planets. At first glance, a viewer might shrug this movie off as just another misinformed bit of media to cash in on the "space epic" genre, but there is a surprising amount of factual information packed into the 169 minute film. First off, the dusts and fungi that are shown to be ravaging the Earth's crops are actually based on real-life events and substances. These helped to keep that part of the story in check. Next, Executive Producer and and Science Adviser, Kip Thorne, made sure to keep the film as scientifically accurate as possible. He studied the science of black holes using equations from Eienstine's Theories of Relativity and his research was reflected in the recreation of a black hole in the film. The black hole in the film used the mathematical data found by Thorne to represent how light from a star swirls around a black hole multiple times before ultimately being sucked into its massive gravitational pull. A model of a black hole was made but still, aesthetics and appeal had to be taken into consideration. After all, it is still a movie. Kip Thorne and Christopher Nolan examined the recreated black hole and concluded that, as long as the black hole wasn't viewed at too many different angles, it would look just fine. Back to the science behind black holes now. Nolan used the trope that getting too close to a black hole would cause weird things to happen to time, causing time to essentially slow down or stop for the unfortunate astronauts who managed to venture too close. This idea furthers the conflict of the heart-wrenching separation between one of the astronauts and his daughter. Finally, the topic of Interstellar space travel was also scientifically backed. Since logically we can't move faster than the speed of light, nor can we survive the thousands of years it would take to reach distant planets, the film depicts an intergalactic "short cut", worm holes. Worm holes are hypothetical "tunnels" through space and time that were originally predicted by Einstein. Human beings are still many years away from actually traveling through a worm hole, but modern scientists can theorize how to make a worm hole big enough to send a message or even a starship.

I thought that the article was very fascinating and I'm glad that movies are starting to use this level of scientific research when writing/designing their movies. I learned quite a bit about the appearance of a black hole and that actual teams of scientists help to create better films for our viewing pleasure. How do we know so much about black holes? Other aspiring filmmakers can take inspiration from this article and use science to benefit their films as well

Another Day, Another Week, Another Month, Another Year

• Learned

Digital Media class gets a whole heck of a lot busier in the second year. Also I learned that checking the focus before every shot is very important.

• Want to learn

Better time management? Pol-focus? Working better in a group? Leadership skills?

• Frustrated you

I understand that working in groups is unavoidable and cooperation skills are very useful to have, but sometimes I just prefer to work alone. I don't like having groups chosen for me, but I also understand that sometimes you can't choose your groups and if you always could, you would have the same groups of people working together every single time (meaning that there would be a lack of variety). Still, I like doing things by myself (even though I must admit that groups can sometimes help to carry the burden of a big project and provide support during rough patches, but this is the "frustrated" section of my blog, so... eh...).

• Made you happy

I like candy and playing video games and I got to do both on Halloween. Happy belated spooky day everyone!

• https://www.youtube.com/watch?v=L6gPkMsmEdI

• A brief video on the origins of "zombies". Strangely enough, it has real life roots and "uses". It had nothing to do with actual death and it was more of an illusion than anything. Narrated by Game Theory's favorite talking Goomba. I'd recommend checking it out if you're into "zambies"

Getting to Know Storyboards

Storyboards are used to roughly illustrate what a film will look like. It describes the film's layout, composition, and various actions preformed by the characters. In short, storyboards are good. Regardless of rather you hire someone to do your storyboarding or if you have to do it yourself, there are some little tips to keep in mind given by DreamWorks. First, avoid flat staging. Flat staging lacks a feeling of 3D space and depth. It feels uninteresting and not very engaging, so it should be avoided in most situations. Next, lay down a grid to help keep your character's feet on the ground. It helps to better understand where a character is in a scene. Third, use objects in the foreground and background to help sell the idea of depth and distances, but beware of objects parallel to the frame. When dealing with groups of people, put the multiple characters into groups to make cutting back and forth been them during a conversation easier. Another trick for helping with dialogue is over the shoulder shots. Over the shoulder shots help to deliver dialogue and provide for some interesting shots. Be sure not to break the 180 rule! Don't squeeze your characters into a tight space. Provide a bit of wiggle room so the frame doesn't feel so crowded. When dealing with a single character looking into the camera, don't have them looking directly into it. Have the character looking slightly off center to provide for a less awkward shot. Use more diverse character heights to establish or re-establish your shots. Different angles can give the audience a feeling of an imbalance of power or authority. Lastly, give your character motivation. This can be done by providing a reason that a character might be doing something, like a character turning because a noise or a character getting up to make food because their stomach is growling. Find their motivations and make them clear.

 I think that we did this article last year. I don't have a problem with this, I just felt like saying. Ahh, memories of Animation... I learned some useful tips for storyboarding. I agree that all of these elements are useful to keep in mind and I feel like I could have utilized some of these during my time in Digital Media 1. I actually don't have any questions. I think that all of this is self-explanatory. A good storyboard is always needed for a good film. Don't skimp out on these elements kiddos.

The Psychology of Horror Films

Fear is a natural human reaction as a result of evolutionary adaptation. We fear certain things because those things used to be big threat. Predators, poisonous insects, etc. Even children as young as 3 years old have an easier time spotting snakes on a computer screen than they do finding flowers. The right amygydala, the part of the brain tasked with fear learning, responds more intensely to these "instinctual" fears than more rational, modern day fears such as people, landmarks, or objects. Perhaps this is why the "monsters" in our monster movies resemble the very beasts we have evolved to fear.

Though, oddly enough, horror films don't trigger reactions in the right amygydala at all. It actually triggers reactions in the visual cortex, the insular cortex, the thalamus, and the dorsal-medial prefrontal cortex. None of these parts were designed to process fear. In a way, we're not really being scared at all.

Psychologist Dr. Glenn D. Walters describes the three factors that describe allure of horror as the tension, the relevance, and the unrealism. The tension is caused by the mystery, the gore, the terror, or shock. Secondly, the horror has to be relevant in some way to the viewer. Universal fears such as death or the fears of societies can draw viewers in. Lastly, the viewer can take comfort in the knowledge that what we are viewing is not real. No vampires will swoop out in the dead of night to bite an innocent dame and use her as his slave. No scientist will stitch a man together and bring his creation to life. We all know that this goes beyond the absurd.

Many theories exist trying to explain the human attraction to horror. Aristotle believed that the attraction to horror films was a method of relief from negative thoughts. Sadly, this theory was debunked. Studies show that the viewing of violence actually increases aggression. Another theory is the Excitation Theory developed by Dr. Dolf Zillmann that states that the negative emotions that increase while watching horror films actually amplifies the positive feelings that we experience. This theory was also disproved because studies show that the movie is most enjoyed when the horror is occurring rather than after. When a "norm breaker" gets punished or killed off in a film, the Dispositional Alignment Theory suggests that we enjoy watching those people suffer or perish. Marvin Zuckerman theorized that people who enjoy thrills such as rollercoasters also enjoy horror films, but that is not always the case.

In a 1995 study of High School students watching Slasher films, the motivations for watching typically fell into 4 categories.

• Gore watching – characterized by low empathy, high sensation seeking, and in males a strong identification with the killer
• Thrill watching – high empathy and high sensation seeking – motivated by the suspense of the film and more identification with the victims.
• Independent Watching – high empathy for the victim with a high positive effect of overcoming fear
• Problem Watching – high empathy for the victim but characterized by negative effect – sense of helplessness.

 A person's motivation, however, can change from day to day and does not offer much a definite attraction to horror movies.

Another theory is that horror movies teach us how to deal with our problems and allows us to explore the unknown. The study of the human brain may be fairly new, but scary stories are timeless and will always remain so long as imagination exists.

*takes a deep breath* Whew, that was a long one... Time to finally move on

I think that this article was insightful and interesting. It is really amazing what science can reveal to those who search for it. I learned about the science of fear and scary movies! I don't think that the contents of the article can necessarily be argued with. Almost all of the topics covered were backed up with facts. Why is it that scary movies are not processed through the right amygydala where learned fears are developed? Is it because we know that what we see is not real and we do not need to fear what lies solely in the imagination? This article teaches a young film maker the basic structure of a scary movie from the design of the monster to what makes that movie scary rather than funny (or something like that)