Who Framed Roger Rabbit - The 3 Rules of Living Animation
Summary
TLDRこのビデオは、1988年のロバート・ゼメキス監督の映画「ロジャー・ラビット」における、アニメーションキャラクターとリアル映像の融合の秀逸さを解説しています。視線の一致、物理的な相互作用、影と光の正確な表現など、3つの重要な要素が、アニメーションキャラクターをリアルな世界に息づかせる上で重要な役割を果たしていることを詳しく説明しています。この映画は当時の技術的制約の中で、これらの要素を徹底的に追求したことにより、前例のない完成度の高い融合を実現しており、製作者たちの卓越した職人芸が称えられています。
Takeaways
- 🎥 「できすぎるロジャー・ラビット」は、アニメーションと実写を融合させるための3つの基本要素を紹介しています。1)目線の一致、2)物理的な相互作用、3)光と影の正確性です。
- 👀 目線の一致は、アニメキャラクターと実写俳優の感情的なつながりを作り出し、観客に同じ空間を占有していることを納得させるのに重要です。
- 🤝 物理的な相互作用は、アニメキャラクターと実世界のオブジェクトとの接触を自然に見せるために、様々な特殊な仕掛けが用意されていました。
- 🌓 光と影の正確さは、アニメキャラクターに立体感を与え、実際の物体のように見せるための重要な要素でした。アニメーターは細かい影や光の質感まで描き込みました。
- 📽️ この映画では、アニメーターがただ期待されていた以上のことをやろうと努力し、「ランプをぶつける」と呼ばれる作業を行いました。
- 🧠 観客は技術的な知識がなくても、この映画を十分に楽しめますが、こうした細かい作業は新しいアーティストにとって刺激となります。
- 🎬 実写とアニメーションの融合は、目線、物理的な相互作用、光と影の正確さを適切に扱うことで成功します。
- ✍️ アニメーターたちは、カメラの動きに合わせてキャラクターを描き直すなど、多大な手間をかけていました。
- 🔍 観客は意識していなくても、こうした細かい作業が無意識のうちに効果をもたらし、作品の魅力を高めています。
- 🌟 「できすぎるロジャー・ラビット」は、ストーリーテリングと心に残る魅力に加え、こうした技術的な卓越性が高く評価されている作品です。
Q & A
アニメーションと実写とを組み合わせた映画の歴史について教えてください。
-アニメーションと実写を組み合わせた最初の映画は「The Enchanted Drawing」と言われています。2次元のキャラクターを実際の世界に生きるように映し出すことが、アニメーションの魔力でした。
「ロジャー・ラビット」が他の実写とアニメーションの融合作品と際立っている3つの要素は何ですか?
-3つの要素は1)視線の一致、2)物理的な相互作用、3)光と影の正確性です。これらの要素によってアニメーション キャラクターが実写の世界に本当に存在しているように見えます。
視線の一致がなぜ重要なのですか?
-視線の一致は3つの理由から重要です。1)アニメーションキャラクターと実写の俳優の間に感情的なつながりを作り出す、2)アニメーターに動きの基準を与える、3)観客に両方のキャラクターが同じ空間にいると納得させる。
「ロジャー・ラビット」のアニメーターたちは、視線のずれをどのように修正しましたか?
-実写の俳優の視線とずれていたら、アニメーターたちは創造的な方法でロジャーの身長を調整したり、彼の仕草を変えたりして、視線を合わせるよう工夫しました。
アニメーションキャラクターと実写の物理的な相互作用を表現するのはなぜ難しかったのですか?
-実写部分はすべて撮影し終えてからでないとアニメーション制作に着手できなかったため、あらゆる接触はあらかじめ計画しなければならず、専用の機構を開発する必要がありました。
「ロジャー・ラビット」で光と影の正確性にこだわった理由は何ですか?
-キャラクターの立体感と、実際の世界に存在しているという印象を与えるためです。影の各セルを積層して動的な光源の影響を再現し、細部にまでこだわりました。当時は期待されていなかった超リアリズムでした。
「ロジャー・ラビット」のアニメーターたちが「bumping the lamp」という言葉で表したものは何ですか?
-「bumping the lamp」とは、期待以上のことをすることを意味します。例えば単純な平面的な照明でなく、実際の光の動きに合わせて細かく陰影をつけるなど、余分な作業をしてリアリズムを高めたことを指します。
この映画の技術的な卓越性と物語の魅力はどのように関係していますか?
-技術的な卓越性は映画の魅力を直接的に高めるものではありませんが、無意識の上でリアリティを高め、新しいアーティストたちにインスピレーションを与えるものです。物語の面白さと相まって、この映画の魔力を作り出しています。
この映画から何を学ぶべきだと製作者は言っていますか?
-製作者は「できる限り lamp を bump せよ」と言っています。つまり、期待以上のことをして観客を感動させる機会があれば、それに挑戦することが大切だと説いています。
この映画の成功の鍵は何ですか?
-物語の魅力、ユーモア、そして技術への真摯な姿勢とクラフトマンシップが成功の鍵でした。どちらが欠けても、この作品の魔力は生まれなかったでしょう。
Outlines
🎬 アニメーションと実写の融合
この段落では、アニメーションと実写映画の融合の歴史について説明している。特に1988年の映画「ロジャー・ラビット」を例に挙げ、アニメーションキャラクターと実写の俳優を同じ空間に見事に統合させた手法について3つの基本要素を解説する。1つ目はアイラインで、キャラクターと俳優の視線を合わせることで空間的な一体感を作り出す。2つ目は物理的な相互作用で、アニメーションキャラクターが実写の環境と自然に干渉するよう描写する。3つ目は光と影の正確さで、アニメーションキャラクターに3次元的な存在感を与える。これらの手法がうまく機能することで、観客は2つの異なる世界が完全に融合したと感じることができる。
🎨 リアリズムへのこだわり
この段落では、「ロジャー・ラビット」制作陣がアニメーションキャラクターのリアリズムを高めるために様々な工夫を凝らした点について詳しく説明している。各アニメーションキャラクターは多層構造で作られており、影や陰影、反射光などの層を重ねることで立体感を表現した。さらに、実写の照明の動きに合わせてアニメーションキャラクターの陰影も変化させるなど、細かい動きにもこだわった。こうした地道な作業は観客から気づかれることはないかもしれないが、無意識のうちに作品世界への没入感を高めている。制作陣のこのようなプロフェッショナル精神こそが、後世の制作者たちに刺激を与え続けるだろう。
Mindmap
Keywords
💡アニメーションの歴史
💡視線
💡物理的インタラクション
💡カメラワーク
💡光と影
💡バンピングザランプ
💡ストーリーテリング
💡クラフトマンシップ
💡テクニカルデザイン
💡革新性
Highlights
Animation has a long history of sharing the screen with live action, as exemplified by 'The Enchanted Drawing' - the first piece of animation ever put to film.
The magic of animation was about bringing two-dimensional characters to life, not just on the page, but in the real world.
Robert Zemeckis and Richard Williams' 1988 film 'Who Framed Roger Rabbit?' is a standout example of integrating animated characters over the live action environment.
The first fundamental element in integrating animated characters is 'eye line' - establishing an emotional connection, setting a blocking reference, and convincing the audience that both characters occupy the same dimensional space.
In 'Roger Rabbit', animators used creative workarounds like having Roger stand on his toes to correct eye line issues.
The live action portion had to be shot entirely before animation could begin, as the animation was drawn directly on the photostats.
Physical interaction is the second fundamental element, where special effects divisions developed custom mechanisms to mimic movements like chairs bumping or plates shattering.
In 'Roger Rabbit', there are rules governing the universe, like if Roger drowns in real water, he spits up real water, reminding the audience that these characters inhabit the real world.
Subtle details like accounting for weight shifts and equal reactions sell the illusion of Roger inhabiting the environment.
In contrast, animated characters in other films like 'Cool World' exist almost exclusively in separate planes from the live action, breaking the illusion.
Historically, animators who mixed mediums avoided camera movements, as it was more work to keep the animated character in corresponding motion.
In 'Roger Rabbit', the animated element never compromised camera movement, as it was shot like a real film, without the aid of digital compositing.
The third fundamental element is light and shadow accuracy, achieved through multiple layers of shadow and highlight cells for each character.
The animators went above and beyond, a practice called 'bumping the lamp', to account for dynamic lighting changes and realistic three-dimensionality.
While technical subtleties may go unnoticed by audiences, they inspire new artists and showcase dedication to the craft.
Transcripts
Animation has a long history of sharing the screen with live action
as you can see here with "The Enchanted Drawing" --
the first piece of animation ever put to film.
The magic of animation from it's foundation
was about bringing these two-dimensional characters to life --
not just on the page, but in the real world.
And nowhere has that been better
than in Robert Zemeckis and Richard Williams' 1988 film
"Who Framed Roger Rabbit?"
So today, I want to look at the three fundamental elements
in integrating animated characters over the live action environment
and what made Roger Rabbit stand out from the rest of them.
The first and probably the simplest from a technical perspective is "eye line."
Eye line is important for a number of reasons --
it establishes an emotional connection with the animated character and the actor,
it sets a blocking reference for the animators,
and it also convinces the audience that both characters
are occupying the same dimensional space.
And, when the effect works it's a seamless interaction,
but when it doesn't, the actors seem to be blankly staring
into dead space.
Which is the case with a lot of the animated scenes in Mary Poppins.
You can see her eye line never quite connects with the other characters'.
And, no matter how beautifully animated those penguins are,
it still breaks the illusion.
Now, let's look at this scene from Roger Rabbit
where Eddie and Roger arrive outside of Maroon Studios.
Roger's character model stands roughly three feet tall.
And you can see here, Bob Hoskins actually misses his eye line.
Same mistake as Mary Poppins.
But, the animators used a creative workaround to correct it.
Having Roger stand up on his toes against the wall,
making him a bit taller to reconnect the eyes.
And there are a lot of clever moments like that throughout the film.
Here, Roger's hand comes up higher as he jumps on the bed
because that's where Hoskins was looking in the shot.
And a lot of these gestures were done out of necessity,
since re-shoots were absolutely not an option.
The live action portion of the film had to be shot in its entirety
before a single frame of animation could be done
because the animation was drawn directly on the photostats.
So, that meant any contact made by a toon had to be 100 percent premeditated.
Which brings us to element #2 -- physical interaction.
[ unnerving music ]
- [ unintelligible ] - [ grunts ]
- With any level of interaction, no matter how small or how large,
chairs bumping, windows crashing,
plates shattering,
- ♪ No pain! ♪ [ shatters ]
- The special effects division had to develop a custom mechanism
to mimic that movement.
And a lot of times those mechanisms were specific to one single effect.
Baby Herman's cigar, for instance, was manipulated by a copycat system
with servo-controlled motors
in order to create all 6 degrees of movement.
Something that couldn't have been done with string and marionettes.
And it would've been much simpler to just use an animated cigar,
or have the weasels carry animated guns,
and most people wouldn't notice.
But there are rules the govern the universe of Roger Rabbit.
If Roger's drowning in real water, then he spits up real water.
And every little detail like that serves as a reminder to the audience
that, yes, these characters are inhabiting this world.
Just look at this shot of Roger on his soap box.
It looks as if every slight shift in weight has an equal reaction,
when in reality, it's the action influencing the movement.
It's part of the reason Roger's such a klutz throughout the film.
It gave the production team more excuses for him to interact with the environment.
It's about blending the mediums, not just sandwiching them together.
And far too often with live-action/animation hybrids
characters exist almost exclusively in separate planes.
If we look at this scene with Eddie and Jessica,
she's on his lap, in his coat, she grabs his hat,
she has real presence and weight, and that's what sells the illusion.
But if we compare that to a similar scene in Ralph Bakshi's 1992 film 𝘊𝘰𝘰𝘭 𝘞𝘰𝘳𝘭𝘥,
you'll see there's nothing really connecting these two characters.
I could cut out Holli with a pair of scissors, and nothing would change.
You can also see how subtle camera movements
make it seem like Hollie's locked to the front of the lens.
Almost floating against the background.
And the separation between the character and the environment
becomes very obvious.
Which is why, historically, there was an unwritten rule
amongst animators who mix mediums to keep the camera stationary.
And there was really only one reason for this rule.
- Because they're lazy.
[ chuckles ]
I mean, we're supposed to be able to turn things in every direction.
That's our job.
So, you can shoot your movie, and we'll just fit the character in.
He said, "Well, isn't that a lot of work?" Yeah.
Twice as much work.
- Camera movement is an essential part in making these moments feel cinematic.
And the animated element in Roger Rabbit never compromised that movement.
it's shot like a real film because it is a real film.
And you have to remember --
this synchronization of the characters against the camera
was done before the age of digital compositing,
so there was no tracking software to account for the movement
to keep the characters in corresponding motion.
This was all accomplished by eye and by hand.
Not only drawing each frame, but drawing each frame in perspective.
And that becomes a lot more impressive when you consider
the layer build of each character.
Which brings us to the third and final element -- shadow.
Or, more specifically, light and shadow accuracy.
And this is what set Roger Rabbit apart from its predecessors.
Each toon is their own individual layer,
but there also at least 5 additional cells of shadow and highlight
layers for each character in each frame
built up like a watercolor painting.
Starting with a mask as a backlight, then a shadow matte
painted with hard edges and then softened in the optical printer,
a second shadow mask as a cast shadow,
an interpositive,
and an articulate mask for any physical interaction with the character.
And when composited together,
it gives a realistic three-dimensionality to the characters.
Now, keep all those layers in mind when watching this scene.
- You said you'd never take another toon case!
What'd you have? A change of heart?
- Nothing's changed.
Somebody's made a patsy out of me and I'm gonna find out --
- This is called bumping the lamp.
A phrase coined by Disney during the production of Roger Rabbit
to describe going above and beyond what was expected of the animators.
It would've been perfectly feasible if Roger stayed flatly illuminated
throughout this scene like a cartoon normally would,
but instead the animators put in the time to shade every cell uniquely
so that the practical light would bounce off from the same way it would a physical object.
And they had to account for that dynamically shifting lighting
with every contour in Roger's limbs, his clothes, his face,
the cast shadow he creates on the environment as well as the texture of the light,
the slightest difference in color temperatures, the lamp sways,
even Roger's ears have a slight translucency
since they're much thinner than the rest of his body.
They thought of that.
Audiences had no expectation for this level of realism in 1988,
but all these seemingly-superfluous details help sell the effect at a subconscious level.
And the best part of the film is that -- without having noticed any of this --
having no technical knowledge of the animation process or the filmmaking
has no effect of your enjoyment of Roger Rabbit.
It's an incredible film by its own merit.
The storytelling and the heart and the humor.
That's where the true movie magic is.
But it's those technical subtleties and the dedication to the craft
that really inspires new artists.
And that's something to be admired.
So, in your work,
always take the chance to bump the lamp.
Because somebody out there will notice.
♪♪
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