Ararat

Rochester Institute of Technology

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11-1-1996

Ararat

Leah Bosworth

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Recommended Citation

ARARAT

by

Leah M. Bosworth

Submitted in Partial Fulfillment

of the Requirements for the Degree

MASTER OF FINE ARTS

MFA Imaging Arts/Computer Animation

SCHOOL OF PHOTOGRAPHIC ART AND SCIENCES

ROCHESTER INSTITUTE OF TECHNOLOGY

ROCHESTER, NEW YORK

November, 1996

Thesis Committee Members:

Marla Schweppe, Chair

Associate Professor

Film/Video Department, School of Photographic Arts& Sciences

Erik Timmerman

Associate Professor

Film/Video Department, School of Photographic Arts& Sciences

David Dickinson

Associate Professor

PERMISSION TO REPRODUCE THESIS

Title of thesis: "ARARAT"

I, Leah M. Bosworth, hereby grant permission to the

Wallace Memorial Library of RIT to reproduce my thesis in whole or in part. Any reproduction will not be for commercial use or profit.

TABLE OFCONTENTS

Thesispaper 1-14

Original Thesis Proposal Appendix A

(Includesoriginal and actual

timelines andbudgets for_comparison)

Original Thesis Storyboard Appendix B

(Includes notes)

Stills fromthemovie

"Ararat"

Mygoalsfor_mythesismovie "Ararat" were simple: to combine2-D and 3-D

imagery, andto makepeoplelaugh. Fromthosepoints, I touched offaworld of

complexissues.

STORY AND RESEARCH

Ibasedthe_storyof

"Ararat"

onalegend Iheard aboutNoah's Ark

concerningtheorigin ofthecat: ratsinvadethe_Ark, and God sees a needfora

smaller version ofthelionto exterminatethecritters. The_difficultyin_fleshing outthe

storywas_{setting up} a seriesofgags and situationsfortheratsto _annoyNoahandthe

othersthatwouldlead_{up to the}solution. Ihavea_paintingand stillimage

background,wherethe_storymust betoldas soonastheviewer gazesupontheimage.

Therefore, itwas_veryhardformeto stretchout a_{story in}time. Iwatchedalotof

slapstick_comedysuchas "Laureland

Hardy,"

"The Three Stooges,"

and "Mr. Bean,"

aswellas _manyoldWarnerBrothersandWalter Lantzcartoons. Thecartoons served adualpurposeto showmehowa_storycanflowthrough_gags, andtoshowmehow totimeand exaggerate_motion, suchassquashandfacial expressions. I_{brainstormed,}

consulted withfellowanimators, andlisted as_manyoutlandish pratfalls as_{I could,} before narrowing down any ideas. I hadto rememberthat_nothing istoo_{crazy in}the

world of animation. Thereis_{nothing wrong}withNoah_balancing abunchofboxeson his_head,foot, and _arms,onlytohavea rat crawl_uphis_{body,therebycausing}utter

collapse. _Likewise, intheanimation_world, thereis _{nothing wrong}witha rat _swinging

froma ropeto steal a cookiefrom Noah'shand; and of_course,thereis_{nothing wrong}

withrats inasubmarineharpooninga cookiefromNoah'shand.

Inthecourse of_{storydevelopment,} I decided to haveNoah solvetherodent

would _{simplifythe plot,} givehimmore strength as a_character, andleavemoreroom forgags. Acatdoesmakeanappearance as a

"victim"

of_{the rats,} as doesaturtle. OnceIemerged out ofthe"humor"_block, I mapped out_mychosen gags (the"meat"

of_{the story), reserving}the silliest onefortheend_{justafterthevieweris madeto}

thinkalliswelland gloriousinthemountains ofArarat. I savedall_{my gag ideas}as

storyboard pieces. IncasetheonesIchosedidnotworkforwhateverreason,Icould

always_{delete, insert,} orrearrangethemif Ifeltitwouldbe better inthemovie. I did

end_{uprearranging many} sceneslater_on,both inproduction and editing. I am_very grateful Iplanned_mygags.

The_beginningand_endingofthe_storyare_{bookends, slowly}paced incontrast

totheslapstickofthemainbody. The_beginningshots(Noah closeup, theAnimal Processional,rats _sneakingon_board,Noah enteringthe_Ark,Noahabout toeat a_roll)

aredesignedto establishthe"characters"and _{my painting}and animation _style, aswell

asto set_uptheviewerforaction. Theend shots(Noahand_{the rainbow,}animals

exitingthe_{Ark,Noah relaxing)} mirrorthe_beginning, evento thepointthatNoahis interruptedashe isabout_{to eat,}justashewasinthebeginning.

Inadditiontothecomedic_{research, I}also studiedanimal motionanddid_many

pencil sketches andtests. I studiedMuybridgeand watched "Willard" and "Ben" (two

classic _campyrat moviesfromthe _1970's)severaltimes toget afeel for rats'

behavior

and motion. IalsousedelementsfromtherealBiblical storyof_Noah, such asthe

name("..mountainsof_Ararat")tofusethe_storytogether.

Iwas determinedtousethemusic for mythesis_longbeforeIdevisedthe story.

Ijust_absolutelywantedtousethe two klezmer_pieces, "Dybbuk,"

and "Negev,"_by

Kol _Simcha, fora movie. Because Iwasfamiliarwiththe

songs'

timingand

structures, itwas_{relativelyeasy for my}soundeditorto incorporatethemintothe

manymovies, the musicbecomes just as _strongand connected aforce astheanimation

in mymovie.

AESTHETIC

Ihavea_{very painterly}(and often_complex)artistic _style,and like_paying

attentionto details. Indrawingsand paintingsitcan show_up as a wrinkleina_face,

thestreaksinaneye _iris,theveins ofa_leaf, etc. In_animation, it _additionallytranslates

to subtlecharactermotions and expressions. _Manymotions(eye_{blinks, breathing,}

rufflingoffuror_cloth)arethings that _maynot_consciouslybenoticed_bytheviewer.

However,when_they are_{absent, the}viewer often "senses" _somethingis not quite right.

Mydetailobsessionalso leadsto "subplot" resolutionsorexplanationsthatare not

really necessaryto the story,butIdidthemforme.. Anexampleisthecat andturtle

that appear _{snoozinghappily}withNoahattheendofthemovie. Nowno one_really

cares_{(or remembers)} what "happened"tothose creaturesaftertheabuse_they

endured,but I do. I created_them, soI feel Imust resolvethem.

Such_thinkinglendsitselfto the_medleyoftechniquesIusedforthis_movie,

whichIamaboutto _{describe. I originally}wantedto createtheentire moviein_3-D,

but I desiredlush fiirand_painterlytextures. Three-Dpackagescan_map suchtextures

wonderfully, butIfeeltherelacks an organic

"hands-on"

qualitythatcanbe achieved

in2-D. _{Also, my}moviedemandedalot of characterarticulation_{fromwalk cyclesto}

breadsnatching. Ifelt Iwouldhavemorecontrol over charactermotionin_2-D, albeit

hand _drawingeachframe ismorelabor intensivethan_keyframingor_inbetweeningin

3-D. _Early on, Idecidedto

"marry"

thetwo methods. Ibuiltrough3-D animal

modelsin StrataStudio and _Infini-D, and recorded allpossible motionsIwould need.

whatever animalI needed_{(rotoscoping)}overit inPhotoshop. Mostof_mycreatures

havetheiroriginal 3-Dsources obscuredbecauseIpainted overtheentireobjects.

Noah'sheadremains _prettymuch inits 3-D_state, surrounded_by2-D paintedhairand

abeard. Idesigned his eyesin 2-Dand mappedthemonto3-D spheres. Itook him

backandforthfrom 2-Dto 3-Dseveraltimes. _{The moving Ark}isanotherexampleof

2-Dand3-D combinationanimation. I renderedtheArkin_3-D, and madeittossand

turn_{(and eventually}almost _sink)byhandin Photoshop.

Mybackgroundsare acombination of2-Dand3-D aswell. Thereare_{really 2}

rawbackgroundstheexterioroftheArk plus mountains and _sky; andtheinterior. I

createdthebackgrounds in_{Electrogig-3DGO,using itsMapfactory}formost ofthe

textures and_bump maps. Imade some camera pans andzoomstogetdifferentviews

ofthescenes, andFTP'dtherenderedframesfrom UNIX stationsto theMacintosh. I

tweaked somefeatures_(roughingupthewood panelsoftheinteriorwalls_{by Adding}

Noise, for example) inPhotoshop, and evensampled someofthose_existingtextures

and objectsforuseelsewhere. _{For example,}theropetherat swings on(whenhe

stealsthebreadoutofNoah'shandtowards the_beginning ofthe_{movie) is from}one of

theropes_tetheringtheArkto theground. Thewoodtextures ontheboxesand crates

camefromsome ofthewallpanelsIcreatedin_Electrogig, mixedinwitha_healthy

dose of woodtexturesI havecollected and created.

TECHNIQUE

Ichose_Photoshopfor

"assembling"

allthepiecesof_mymoviefirstand

foremostbecauseIwasthemostfamiliarwithit. Iknewabout its_Layering

capabilitiesand haveuseditto construct "fineart"

imagesinthepast. _Manywould

retouching("post-production"). Forme, however, the tools andfiltersinPhotoshop

(aswellas additional plugins such asKai's Power_Tools)begtobeused inpainting. OnetechniqueIusedthroughout_mythesis_{is painting}with_textures,alludedto in"The Aesthetic" section. I have collected and created a wholetexture_libraryover

the years, everything fromwood (thereare at leastadozendifferentwoodtextures in

mythesis)to_jellybeans, to_my own cats'

fur. Sometextures are_completely obscure becauseofthe_tweakingIdo. _(Ironically, Ididalot oftexturecreationin_Painter,the "true"

paint_program, butalways revertedto_Photoshoptodothebulk of_mywork.)

Noah's_cloak, forexample, isa compositeof autumn leavesand a_paisleypatternfrom

oneof_my shirts. OnceIhavewhatIneedfor_textures, I usethe_cloningtool to sampleitand _{apply it}toanimage. Obvious examplesoftexture_painting arethecat and

rats'

fur, andNoah'shair. To show softnessor_{movement, I apply}the Airbrush

and Smudge_{Tools, resmudging from frame}to frame. IsometimesuseMotion Bluror Gaussian Blurto enhancetheillusionof movement. Allthewater splashesin my

thesiswere_simplyMotion BlurandtheSmudge_Tool, extended_graduallyover a series

offrames. Other favorite filtersand toolsinclude Add_{Noise, Fragment,}Waves, KPT Texture_Explorer,Replace_{Color, Invert,} andFeather.

Usingthe_{Layers capability}of_Photoshop3.0foranimationpurposesisa

convenient_wayto register and edit graphics. _PhotoshopLayerscanbenamed(great forframe_numberingand_listinggraphics), duplicated, moved,and combined. Filters

and effectscanbe_individuallyapplied toalayerwithout _affectingtheotherlayers. The semi-transparent rainand seawaterin mymovie are examplesofthiseffect. Each layercanbe duplicatedtoanother_Photoshopfileorexported as oneof_manyfile formats. Layerscanbemadehiddenor_visible, whichhelps_keepconfusiondown

Thedefault layer in_Photoshopiscalled

"Background"

and thisiswhereI

usuallyplace_my640x480background. IplaceallthegraphicsI need forthe

backgroundinseparatelayersand movethem around as needed. Icompositethem

into onebackgroundlayer_{by selecting "Merge}

Layers,"

and_voila, Ihavea

background. Itdoesnotmatter whether_{I originally}createdthegraphics in 3-Dor

2-D; onceIexportthemfromtheirrespective software_{theyessentially become 2-D.}

Icreate a newlayerabovethebackgroundwhereI cancreate or pastean

object Iwishto animate. Eachsuccessivelayeris "ontop"

oftheprevious_one, so

graphicsinupperlayersappearinfront ofloweronesintheimage. These layerscan

berearranged atwill. To make successiveframesofthegraphicinmotionI select

"DuplicateLayer."

Itweakthesecondlayerto _mysatisfaction, duplicateit, andtweak

some more. Eachduplicated layer is inexactregistration withtheprevious_one,which

makesthistechniqueidealforwalkcycles andother animation staples. WiththeMove

tool(lookslikea_crosshair)and theshift _keydown, Icanmoveand constrain each

graphicinalayer. Layerscanbegroupedandmoved_{simultaneously}withthis tool.

An example ofduplication and movement aretherats(orjustabout _anyother_moving

thing)in mymovie. I created a

"base"

ratwalkcycle, thenduplicatedeachlayer. I

changedcolors and furforeachset andsoon hadacloned_armyof rats.

Ican maskoutor reveallower layers_bycuttingout portionsof animage inan

upperlayer. Forexample, insceneswhereI haveawindow with_rain, Imakethe_sky

and rainthebottommost_layers, andthewindowandwall arein front. Icut aholein

thewindow whichrevealstherain.. If Iduplicatea_layer,Icancreate amaskto cover

portions ofgraphicsthat are

"sandwiched"

betweenthebaselayerandthemasklayer.

Forexample, tomake_myanimalsappearto entertheArk and_disappear, I duplicate

the"Ark"layerandremove_{everything but}a portion oftheArkandthedoorway. I

visible as Iexport_{my PICT}files. Otherexamplesofthistechniqueincludethematzo

balls punching holesthroughthefloor andtherat"exodus" offtheArk.

Once I haveexported _myseriesof_frames, Iloadthemintoplayers suchas

Director. I have 2methods ofexporting. Oneistoincludethebackground layereach

timeIexportframe layers. This keepsmefrom_havingto_worry about_antialisingor

cleaning upgraphics, butthefile sizescanget _extremelyhuge. Iusedthis technique

formost of_mymovie scenes. Since Iwas singleframe recording I didnothaveto

dependonDirector'splaybackcapabilities. I alsowasfortunatetohave accessto

storage media. I mayreducethesizeoftheentire_Photoshopfile_(savingitunder

another_name, of_course), and exporttheframes. I canpreview_my animationin

Director, Premiere, or evenas aQuicktime. Towardstheendof_{mythesis process,} I

started _savingfilesas compressedJPEGstill Ineeded_them, whichsavedalotofdisk

space.

Havingseveral_movinggraphics_obviouslyrequires_manylayers, soit is

extremelyimportant to_keepmyfilesizesdownaswellasremainorganized. Iuse

strict _namingconventions _{for naming my}layersandall_myexported files. Ialsotook

advantage ofPhotoshop's Command Sets a customizable palettewhereIcan_quickly

accessall_mymost_commonlyusedmenu options andfilters. The_PhotoshopLayers

technique's biggestdrawback I have foundisthetimespent_{monotonously exporting}

frames, aswell as_{occasionally messing}one_up and_{retracing my}stepsto fix it. Inthe

future, Iwilluse abatchconverter such asDeBabbelizer orHijaak. Otherthan_that,

theLayerstechniqueservesitspurposewell. ForMacsI_highly recommend atleast

32MBofmemory. Windows handles_{memoryslightlybetter,}but in both casesI

TIMING/ANIMATION ISSUES

Ican resolve_timingproblems_usinganimationand_editingtechniques(more

aboutthat inthe"Editing/_AssemblingtheMovie" section). _Timingis_verycrucialin

orderfortherelentless series of pratfalls_{in my}animationtosucceed. Ineededto

stronglyincorporatetheclassic elementsof_animation, suchas squash and stretchand

anticipation onthecreation end. Ialso neededtoknowwhento cutoradd aslittleas

oneframeper scene_{in editing}to make a scenework. For example, in bothscenes

wherea ratsnatches a cookiefrom_Noah, Ihad to test theexactlocationofNoah's

hand andfaceinrelationto therat's_stealingmethodofchoice. Anticipation is

key-just afterthecookieis_{initially stolen,}Noahmustbethrust_forward, thensnapped

backward,thenhefollowsthroughonhisresponseto thelossofhiscookie.

Ihave foundthatpausesinmotion canbewherethereallife in animationlies.

For example, whentherats proceed_uptheropeintotheArkinthe_beginning, I

originally hadthemallfile inrather monotonously. _Observing

rats'

unpredictable

behavior (both in realityand in my research)showedmeIneededtomake themmore

ratlike,which would also makethemfunnier. I startedwith one rat_{sauntering up}the

rope. _Halfwayup, hestops _abruptly, stands_up, sniffsthe_air, continues_saunteringa

bit,stands_upand sniffs_again,thencontinuestherest oftheway. Whenhegetstothe

opening intheark, hesitsbackonhishaunches preparingto_{leap, pauses,} then

stretches out ashe disappears intotheark. _Then, another rat scurries_uphalfway,

stops, sniffstheair,and continues. _Then, in_editing, Icycled an_{approximately}three

second pause without_anyrats. I_finallylettherestoftheratsrun_upthe_rope,which

establishestheirmischievous naturebefore_theyevencommit_anypranks.

Moreexamplesof pauses-before-actionincludethescene where a rat walks_up

toNoah's_leg(whilehe isimmobilized from_balancingboxesonjustabout_everylimb

there are pausesinthe scenes wheretheratssquashand_leapwhen_theyhop onboxes

tofleethe_floodingArk, and when_theydive offtheArkintothesea. Other typesof

pausesincludeasmall_stopattheend ofthe_sleepingcat's"breathe

cycle"

atthe

beginningofthemoviebefore a ratisaboutto pounceonhimthisadds weight tothe

cat and makes himappeartobeina_deepsleep. Thereare pauses and exaggerated

squashesinthe scenewhere_Noah, encumbered_byboxes,feelsa ratcrawl_{up his face.}

Thentheboxes_sway slightly, slightlymore,then_finallycollapse. _ImmediatelyIcutto

a distant shot ofhim splayed_amongboxes, and onebox bounces offhishead.

I also learnedtouse dissolvesand fadestastefully. Inthe_beginning, afterthe

animals and ratsenterthe_{ark, Noah} enters. ThentheArkonland _{slowly dissolves}to

anArktossedabout on_{the waves,} andfadesto black. Thissequenceindicates a

passageoftimeandisdramatictheredoesnot alwayshavetobeslapstick actionina

sceneto holdaviewer'sinterest. Likewisewiththenear-end_{Noahseestherainbow}

(ina cyclewheretherainbow_"twinkles"), thescenefades_out, andthescenewiththe

animals_{emerging from}agroundedArk fades in. Theviewerthinksalliswell and_may

almostforgettheplightof_{the rats,} whichmakesthelast sceneevenfunnier.

EDITING/ASSEMBLING THEFINAL MOVIE

Editingmymovietaughtmethatdevelopmentdoes notjustoccurinthe

animation/drawingstages. No matterhowwellonefleshesout a storyboard orhow

manytimes scenes are_strungtogetherinthecomputer, some problems_{may only} show

upwhenthemovieis putontape. _Seeingitforthefirsttimeon videoinroughshots

scaredme_{I didnotfeelI hadenoughfootage, and shots}I_{thoughtworked well}

together_suddenlydidnot. IlearnedthatI didnot alwayshavetocreate morefootage

well as parallel_cutting scenesIhadmeant tobetogether. Ilearned notto think

linearly.

For_example, Iintendedfortheanimal processional inthe_beginningtohave

justNoahstandalone_bythe_Ark, then theanimals enter. When Iwatchedit on_tape, I

felttherewas not enoughtimefortheviewerto absorbthe_sceneryorNoah's

character. I reallydidnotwantto create more_walkinganimalsjusttoextendthe

scene, so Isolvedtheproblem_byediting. Imade an_establishing shot withNoahand

theArk _alone, takenfromthe_beginningframesof_{the shot,} andI cycleditforafew

seconds. Ithencutto a close_up ofNoah soviewerscould seehis "cute"whimsical

face and_flowing hair. IhadNoahturntofacethe_viewers,turn_back, andthenIcut

backtoNoahandtheArkagain. _Finally,theanimals enterthe_Ark, andthenIcutto

therats_sneaking aboard. Inthiscasein_particular, Ialsolearnedto slowthe_timingof

theshots downin_editing, notincreation. Theanimals_originallymovedtoo_fast, soI

transferred the scenefromcomputerto video_using aslowerframe rate.

ThesequenceswithNoah andthecatonhis_face, andtherat andturtle

wrestling, are_verynotable examplesof parallel_cuttingto stretchoutthescenes. I

culledthe sequencesfrom justtwo shots. IshowedNoah_runningaroundwiththecat

onhis_face; cut toaturtle_amblingtowardsapieceofbreadwhereupona rat _suddenly

"appears"

and snatchesit; cuttoNoahandthecat _again;cut to therat andturtle

playingtugof war withthe_bread;cutbacktoNoahandthecat. Then Icutto the

turtle _losinghis_griponthebreadand _{tumblingbackwards,}withtherat_happily

munchingonhis prize. _{This way}thereissuspensefortheviewer_howdothese

scenes relateto each other? When theturtlefliesoffand crashes intoNoah's _leg,the

questionisanswered.

The"ratexodus"

sequenceisalso parallelcut: Noahpeltstheratswitha

matzo_ball; thematzoballjustbouncesandtheratsignore_him;Noahthrows some

more; thematzoballspunchholesinthearkandtherats_flee;Noahisso mad hestill

tossesmatzo _balls;therats_run,followed_bywaterspraysfromholespunchedinthe

ark;Noahrealizeswhathehas doneandlooks _down; cuttowater_risinguparound

Noah's_feet;therats_hopfrom_floatingboxestoa_window;Noahrunsthroughthe

water, trips andfalls_in; therats_leap outthewindowto_{the sea; finally,} cutto an

externalshot oftheArk_beginningto sink. Thesequence allowsfora moredramatic

floodingand_sinkingofthe_Ark, mixedwith shotsofNoah's panickyreaction. This

sequence also gives moredramato Noah'splight_hetrips

and falls intothe_water, but

thenI cuttotherats_fleeingthe_ship andtheArk sinking. WhathappenstoNoah? I

finally cuttoa_{soggy Noah emerging from}thewaterinsidethetokjust intime tosee

therain _stopand arainbow appear

Sound editingisnot afieldIamfamiliarwithat_all, soIrelied _heavilyonthe

judgmentandtasteofMarc_{Labbate, my}sound editorand mixer. After_{watching the}

final edit, he listenedto the2 klezmersongs Ichose(referredto inthe_"Storyand

Research"

section), and planned almost_immediatelywhat sectionsofthepieceswould

go with whatscenes. "Negev" isa slow"Bolero"-likeprocessionalpiecethatworks

wellforthe_opening scenes andtheendscenes afterNoahemergesfromthewaterin

theArkand seestherainbow. _Bycontrast, "Dybbuk" isafast_{tension-building} piece

withlotsofscale runs andpercussion_{it lends itselfto}

clappingordancing. Thispiece

would runfromtheinstanttherat snatchesthecookiefrom Noah's hand inthe

beginningofthemovietothefadeoutafterNoah seestherainbow. Apart of

"Dybbuk"

would also startin abruptlyaftertheharpoonsnagsthecookiefrom Noah's

hand inthesecondtolast scene;

"Negev"

would_playright_upuntil_{that moment,} so

thecontrastsbetweenthetwo pieces wouldmakethewhole sequence even more of a

surprisetotheviewer. This endingmix wasMarc'sidea, aswasthechoice of what

sections ofthemusic wouldbeusedingeneral. Healso addedlittle touches, such as

thunderand_{rain, subtly mixing}themintothetracks throughout the_movie, even after

everyone wasinsidetheArk. Hetimed thepercussive parts of"Dybbuk"to _crashes,

trips, andfalls. Hedidnot start "Negev"right atthe_beginning of_{the movie,} likeI had

originallywanted. Heallowed _rain, then_thunder, then themusic_duringthe_opening

credits, which_reallygives a meditative moodto theopening. I had_myownideasof

howto time themusicto themovie_originally, butI feel_having hisperspective_really

helped myanimation; thebestwayto see one's own movieisoftenthrough theeyes of

someonewhohas never seenit before.

PROBLEMS ENCOUNTERED/LESSONSLEARNED

Inthecourseof_mythesis, Ihave learnedthatone cannot do _everything, let

alone_everythingwell. I hada complex_storywithcomplexanimation, andfound

myself_veryfrustratedattimes_tryingto executetheplans Ihadmadeformyself. _My

adviceto animatorsisto _keeptoa_verysimple story;it also doesnothaveto be

original. The artandanimation world willnotthink theanimatoris_anylesscreativeif

everysingle aspectofthepieceisnotcreatedfromscratch_bytheanimator. Witha

simple _{story (not}too much_{runningaround,}angled _shots), onecanfocusmoreon

elaboratingontheanimation withinthoseshots. _Likewise, ifonehasanelaborateor

especiallypowerful _story, one should _simplifythedrawingsand "look." Layersof

renderedtextures_maynotbeneeded. Ifeel mypieceisa_movingpainting_Icould

haveexecutedfar betteranimation andmoresophisticated shots(suchas3/4turnsand

perspectives),but becauseofthe_complexityof_mycharacterand scene _designs, I

franklybecameexhausted_tryingto "move" them. _Basically,one oughttopick an

aspect ofamovie andfocus onit.

Ihavealso foundmethodsto improveandspeed_{up my designprocess,} as well

as_drawbacks;the_majorityofwhichImentioned inthe "Aesthetic" and "Technique"

sections. Iknowneverto throw_{away any}graphic or_any rough stage of_{animation; I}

can always utilizeitlaterorforemergencies(suchas _losingthemostrecent version).

Ialsoknowthat when_makinga_{movie, thoroughly}research methodsofoutput from

computertovideo(orfilm). It is_{very easy}to becomecaught_{up in}thecreation

process and notbeconcernedwith_output, butitcanbea nightmareto findout one

does notknow howtouse orfixthe_machineryrequiredto transfer theworkfrom

computertovideo_{(in mycase,} an_{Optical Disk Recorder).} I hadto_{budget my}time

accordingly, soifthe_machineryisdown forrepairorin_use,there isalways_something

elseformeto workon. Thesesituations arewherefriendsand "technical

support"

comes_in; Charles M. Wilsonhelpedme alotwithhardware_logistics, andwiththe

Macromedia DirectorscriptI neededinorderto transfereachframeof_myanimation

to theOptical Disk Recorder.

Sincethesisisaprocessthatcovers a_longperiodof_{time, obviously} software

andtechniques evolved_duringthattimethatwouldmake_mytasksawholelot easier.

Adobe_{AfterEffects,} for_example, isacompositorand effects processorthat_directly

reads_PhotoshopLayers. _Manyof_myeffects, suchas_rain, couldbecalculated ina

programlikethat, ratherthanbe created_byhand. _{Also, many batch}Tenderers andfile

converters(asmentionedin _{"Techniques")}exist now as software and shareware.

Storage media changeandimprove overashort period oftimewhat waspopular a

fewmonths agocouldbe laughable_todayortomorrow.

I amconfidentthat Igained valuableknowledgeand skillregardlessofhow

much_technologyhas "improved" inayearand ahalf. When Icome across _something

thatseemsforeignand _complicated, like GIFanimationonthe_Web, or digital

compositing, I feel I knowtherootsbehind_it,and amabletotackleit _quicklyand

withoutfear. _{Also, my}particulartechniqueis an assetin some of_myjobs, and adds

effectsthat differ fromthetypical _{"Dissolve, Boxy}Squares"thatone might findin

strict animation packages. IusetheLayers_{Technique in my}still _imagery,as it isa

painter's dreamto beableto switchforeground_imageryand_{background,erase, and}

tweak,without_{completely destroying}theartwork. _Finally, nowIcan animate_anyrat,

anyway, anywhere,doinganything.

APPENDIX A:

Original Thesis Proposal

(includesoriginal budgetand timeline

COMPUTER ANIMATION

MASTERS

DEGREE

THESIS PROPOSAL:

Noah's Ark:

The

Untold

_Story

an animated movie

Leah M. Bosworth

February 22,

Thesis Committee Members:

Professor Maria Schweppe

_(chair)

Professor Erik Timmerman

THESIS TREATMENT

Iintendto createananimated movie_looselybasedonthe taleofNoah's Ark

andtheGreat_Flood, butwith a newdilemma. Thefocusofthe_{story is Noah's}

struggle againstanoverabundance of_rats,who sneak onboard_{the ship,} instead ofa

single pair_representingtheirspecies. Therats_constantlymake mischieffor Noahand

the otheranimalson_board, aswell asdevourmorethantheirshareofthefoodrations.

Everyattempt made_byNoahtoeat inpeaceisthwarted_{bythe rats,} untilNoah

reachesthe_breakingpoint. _Usingtheonefood itemignored_bytherats as a_weapon,

he forces alltheratstofleetheship. _{Unfortunately,}Noahsinksthe_{ship in}the

process. He_finallygetsthechancetoeat_undisturbed, or sohethinks.

I wishto combine theadvantagesofrealistic movement and_lightingof3-D

models andbackgroundswiththe_painterly "organic" qualities achieved_by2-D

platforms and "real-world"media. Iwill create_mybackgroundsin ElectroGIG

3D-Go, a3-D _package, and "touchthemup,"

if_necessary, in_PhotoshopandPainter. _My

characterswillbe a combinationof3-Dbasic models and_{2-D painterly}textures. _Any

difficultwalkcycles and movements(thosewhichwouldbemasochisticin_2-D)willbe

modeled outofsimple primitivesin StrataStudioProorInfini-D. I haveassembled a

collectionof_{fur, feather, cloth,} andotherorganictextures to_map onto _mycharacters.

Formost close_upanddistant shots, Iwillmake thecharacters_{strictly in 2-D,using}

PhotoshopandPainter. Theeffects of_PhotoshopandPaintergive_{very lush}

"pseudo-3D"

characteristics. Iwillthentakeeachframeofanimationinto_Photoshopand

embellish uponthetextures andsoftentheharshnessthatoften occurswith3-Dshapes

andrenderings_{byadding brush} strokesand similareffects. _Photoshop3.0 hasa

layeringcapability, whereI canhavethebackground as a separate_element,thenplace

eachframeofmovement as a separatelayeron_{topfor continuity,just like}cell

I have been_testingmethods of_blendingcompositedcharactersintotheir

backgrounds, so_they stand_out,yet looklike_{theyreallybelong} intheirsurroundings.

Ihavealso been studyingnumerous sources onanimals andanimal movement, from

Muybridgeto "TrialsofLife"nature shows. I amnot concernedwithhyper-realism,

butIwouldlike_my

characters'

movementsto beasfluidand asbelievableasI can

THESIS BUDGET

$ IN KIND ACTUAL

(asof_May1996)

Research Storyboard $1000.00 $1500.00 $20.00 $50.00 $ 5.00

3-DCharacter_Modeling

2-D Characterdesign

3-DAnimation $4000.000 $4000.00 $4500.000 6000.00** 1000.00**

3-DBackground _modeling $5000.00 2000.00**

Importinginto

other software

$4000.00 6000.00**

Image_Compositing $6000.00 20000.00**

Soundtrackcomposition Musicians Soundtrack recording $200.00 $1500.00 $200.00 0* 0* 500.00* Hardware_(VRAM, acceleration_board) Software Storage Media Optical Disk Videotapes $4000.00 $2500.00 $400.00 $300.00 $100.00 $3500.00 $2500.00 $300.00 $ 1500.00** $ 200.00** $ 300.00** $ 100.00**

Transfer_{Mac toVideo $} 2000.00**

Video_{Editing $} 4000.00**

TOTAL $ 39,200.00 $6320.00 $ 49,200.00

*

No moneywas_actuallyspent onsoundtrack_recording, so Iam_{approximating}

money forthetimefor Marc Labbate'sservices.

** _These

areapproximatefiguresbasedontime_actuallyspent onthese_categories;

theimportantnoteiswhatI actuallyspent themosttimeonas opposedtowhat Ihad

PROPOSED THESIS TIMELINE

January 1995 Revise andwork out storyboard. Create 3-Dbackgrounds in GIG

3D-Go. Test_importingfrom UNIX TIFFformattoMac PICT _files, and_touchingup

imagesin Photoshop.

February Finish storyboard. Finish 3-Dbackgrounds.

March Officialthesisstart. Timeout scenes. Begin characterdesignsandmotion

tests. Create Animatic. Start character_animatingand _compositing animationsinto

backgrounds. Workon

"simpler scenes,"

such astight facialexpression shots and sceneswithsinglecharacters

first as_theymaybeeasierthansceneswithmultiple animals.

April More complex_scenes, such as cat_tumblinginto_boxes, multiple rats

scurryingabout,. Noah_trippingand falling. Start_loadinganyfinished scenesinto

Director. RunODRsingleframe_recordingtests. Investigateefficientmethods,

perhaps a_{script, to}trigger_{batch rendering}ofmultiple scenes.

Alwayshavemorethanone sceneinprogress so as not togetboggeddownand

overlyobsessivewithminor details. _{Obviously,this means, keep incredibly}

organized!!

May Showstoryboard and _anyrough scenesontapeto composer. Discuss

musical_themes, #andtypesofinstruments. (I play _clarinet, so I maybe involvedin

this). Searchformusicians. _{Continue animating}and compositing.

June-July Continue animatingandcompositing. Start_recordingto theODR if it

is accessible. (Iam_assumingitwill notbeavailable_{duringthe summer, to}be _safe.)

August _{Continue animating}andcompositing. Makeroughtapeforcomposer.

Begin musiccompositionand _organizingmusicians. _{Discuss possibility}of_editing

movietothe score,which will_obviouslyinfluence score composition.

October Recordmusic. Editmovie onS-VHS. _Laydown score.

TargetThesis_ScreeningDate: End ofFallQuarter, November 1995

Iwill allowallthistime_{for any} emergencies.

ACTUAL THESIS TIMELINE:

Mywork went_prettymuch_accordingto the timelineuntil June 1995. Though Idid

not needtodevotetime to_{searching for}acomposerandmusicians, theanimations I

was_workingon proved

morecomplexandtime_consumingthanIthought. Thismatter was

compounded_byfull-time(often 50 hourper_week)jobsthatI carriedfrom June 1996

totheend of_mythesis. Thatsummerwasnot_veryproductive, soIhadto make_up

forlosttimeinthefalland winter. Imoved_mythesismovie completiondateto _May

1996.

September 1995 Imade _myfirstODRtestsand realized Ineeded toadd

additional scenes andlengthen existingones.

October 1995 Ibeganto createnew scenes(noted in_{the storyboard,}

Appendix B). I extended_{many existingscenes,} such astheanimal processional into

the_Ark; allsceneswiththerats_fleeingthe ship.

January 1996 Itested the_{timingfor many}animations, suchasthesuchasthe

animal processionalintothe_Ark, therats_enteringthe_Ark, and theArk sinking. I

experimentedontheODRandvideotoachieve properframerateand get afeel for

howtoedit_my scenes.

February 1996 Ifinishedall animationandbeganediting.

March throughApril 1996 Ispentthe_majorityof_{this time editing,} and_assembling

themovie. Ihadtogo backto _enhancingand_creating some scenes _{occasionally (the}

sideview ofNoah_throwingmatzoballs andtheclose shot ofNoah_facingtheviewer

inthe_beginningwere "last

minute"

shots). In

mid-April, Iaddedthe_opening and end

credits and started_workingon soundwithMarc.

Inlate_April, Ifinished _editingandMarclaid downthe soundtrack.

APPENDIX B:

Original Thesis Storyboard

//

Animalsenterthe_Ark, Noah stands and observes.

(Not in original storyboard: Close shot ofNoah's _head, Noahturns to screen and

turns_back;

Cut backtoanimals

enteringArk).

/

*/ :.

0-s

t_ j

X

0>

.

RatssneakaboardArk.

X _i

ffl^*Jfs-jf

NoahentersArk,

Arkdoorcloses

behind him..

Dissolveto j^rk_tossing

aboutinthewaves of a _stormysea. Fadeout.

(Not inoriginal storyboard: Fade in to interiorof.^k,

Noah standingbywindow

holdinga cookie.

Cuttoclose shot ofNoah abouttoeat cookie.

Arat swings paston a rope and snatches cookie

from Noah.

-Cuttoshot of a sleepingcat. Another ratsuddenly pounces

on thecat andjumpsoff. Stunned catleaps _up and

chases after rat..

Noahwalking, cat and rat

runthrough his legs and _{trip him.}

<FZJ*~*{

"^~

JE&T^ ~Jh 'TF. 538

\ x:v"oO

' '

Noah fallsto ground, turnshead tofollow

actionof cat and rat.

0

Catchases_rat,rat

runs _upwall,cat _skids,

crashes intowall, is

knockedout.

-.

-Closeshot-Noah

reachesdown to pick

upcat.

Closeshot ofNoah's

head _looking

down-ratfliesdown, lands

(same shot) Immediately, cat

leaps up and clings toNoah'sface. Ratpokes outof rafters,_tauntingcat.

Noah runstoand fro

under control of cat who is_tryingtocatch rat.

\N

Turtle slowly walkingtowards a piece ofbread.._Stops, isaboutto take_it,

suddenlya rat leaps down and grabs_it.) Rat andturtle play

tug-of-warwith bread.

.

..,..,

| .

.-:,

Cut backtocat onNoah'sface,

runnning

backand_forth,

Cut backtorat

andturtle

tug-of-war. Ratyanks

bread _harder,turtle

tumblesbackward.

Rateatsin"victory."

Turtle crashes

into Noah's leg.

Cut_immediately,

Noah and cat_fly

through the air.

I

r^^.-.ViM 'g.*V.fe< *j- - :

j

-->

-_. r t

Follow cat_tumbling,

itcrashes intoa pile of_{boxes, sending}

them flying.

X 0

Noahrunstocatch waywardboxes.

More distantshot,

showingNoah encumbered byboxes balancedon

Closeshot ofNoah's foot. Arat walks_up

to_{it, leaps,}and runs

up Noah's_leg

Close shot ofNoah's head. Rat _slowlywalks

upNoah'sface. Noah's

expression reflects

his disgustat theaction

'W4 ; :*?'X tRl/ (JflWXfc''-', *

(same shot.) Aftera_pause,

Distantshot-Noah

surrounded _by boxes.

One boxbouncesoff

head..

T

*-la$B -^.:.y,

----r-'-',-.ysir:.

Close shot. Noah lifts boxoff_head,

revealing a rat attached tohis nose.

- --''*

fesssfe

.

(same shot.) Noahstaresatrat,

turnsvisibly red,

rips rat off noseand

He pauses and

turns towards screen.

Noah's

POV-Acan ofManny's Matzo Balls!

!'' - . ...ggUM#<

Shotof ratsmovingabout

strewn boxes. _Suddenly,

a matzoball bouncesinto

view. Rats look up, shrug

and continue their business.

Closeshot ofNoah

preparing to toss a matzoball.

XX

J*t-X- <-^r

.

%'

i (^.^<frV,T!,

^^gEZ-F&?Sy_ ;.:-...>..

---

'---:

:

-. _>$

Cut backtorats inthe boxrubble. More matzoballspelt

the ground-this time

theybreak through the

floor,. Watershoots up,

andthe ratsflee. (Not instoryboard: cuttoaside viewof

Noah _tossingmatzo_balls)

m*^

1

Close shot of rats running

inthewakeofmatzoball

pelting; moreholes are punched through the floor with water_squirtingout

(Not instoryboard:

Closeshot ofNoah's

feel, waterrises

indicatingthe krk isflooding;

CloseshotofNoah's

face, showing hisupset reaction.

m^^^^^^^^^^^^^^^^

Cuttoratsrunning

toward window

~-'

Cutto rats _leaping

off_{window, outside}

Arkand into the sea

Cutto _{Noah running}

throughwater

'1 '

"'.tHM-^'^

'

-X

-**^-. -%_

I

-- ...

Bt

p.

(same shot.)

Noah tripsand

falls intothe

water

(Notin_storyboard; interiorofArkseems

totilt

cutto external shot

Internal shot of

window. Noah's

hand reaches _up

to grab windowsill.

--- : _:-' x.

p

i

jug

-\m-'-;,- '*

&^t*.r

-:

Closeshot ofNoah

pulling himself

upto the window.

The sormysky

changes to a _sunny one and arainbow

appears, surprising

Noah. Fade out.

I ... !

I

Fade in.

Exterior shot,Ark

is settled on an

island. Animals emerge.

V

%j

Mm

.

V-ShotofNoah sittingonArk_deck., reachingtoeat a cookie.

(In the movie, he is

withthecat andturtle.)

":!lcrO--XXX'X:

sa*l

Closeshot ofNoah abouttoeat.

Suddenly, arope

snatchesthe cookie

from his hand. Noah

turns tolook. (inthe movie, a

harpoon does the deed)

Noah's POV.

Arat submarine.

APPENDKC: