Avatar 06

Well, the wait is over and, whether one likes it or not, Avatar looks like the game changer that James Cameron, Jeffrey Katzenberg and other promoters of 3D movies said it would be, quieting critics who said the technology would never really work in live action. It also looks like it will be the film which legitimatizes motion/performance capture, especially as a way for live-action directors to enter the wonderful world animation (though sometimes without necessarily admitting it’s animation). It also helps that, despite its occasionally comical mixture of Star Wars and FernGully, it’s a pretty good movie.

As I wrote a year ago, “I suspect 3D will not go away anytime soon; the question , I believe, is whether or not it will go beyond being a niche market.” Avatar’s success certainly solidifies 3D’s place in the cinematic mainstream, though calling it a live action is problematic. (In this regard, do read Brad Brevet’s “Should ‘Avatar’ Be Considered for Best Animated Oscar?” on RopeofSilicon.com here and Steve Hulett’s follow-up comments on The Animation Guild blog here.) Thus, Kristin Thompson’s comments on Beowulf that “It’s still fiendishly difficult and expensive to shoot live action material in digital 3-D, so most projects are animated,” perhaps still seems to hold.

In regards to his use of motion capture, Cameron has been especially boastful about how he has overcome the last obstacle to the technology’s acceptance, that of being able to reproduce not only the reference actor’s bodily actions, but their exact facial expressions as well. As a result we are left with the spectacle of critics gushing over how, for example, Sigorney Weaver’s avatar face looks just like Sigorney Weaver’s actual face (see comparison below). This, as Brevet points out, is something that animators have been doing since Snow White and the Seven Dwarfs (actually since Otto Messmer’s pre-Felix the Cat work on Charlie Chaplin cartoons).



Rodney Dangerfield posess with his animated alter ego

Also, the film really does not fully address the problem of the uncanny valley, as the mocap characters are not meant to be realistic humans, but highly stylized humanoids; a better test would be to see how Cameron would do on a follow-up to Final Fantasy: The Spirits Within.

Cameron also boasts that his work on performance capture technology will eventually lead it to becoming more commonplace and cheaper. I suppose so, but less expensive approaches already exists. For instance, director Neill Blomkamp in an interview about his District 9 with Todd Gilchrist notes:

Pretty much in any shot with an alien interacting with a human, which 99 percent is Christopher interacting with Wikus, there was Jason Cope, who was the actor who plays Christopher and who also plays all of the other aliens in the film. He was always on set in a lycra, light-reflective suit, and he would be interacting with Sharlto. It was not performance capture from a data-recording standpoint; like, there were no motion-capture cameras around. But once our live-action camera was tracked, the animators at Image Engine would sort of trace-animate the motion of Jason, almost literally like tracing him. That rotomation would become the essence of the performance of this digital creature, and then they would paint Jason out and put the digital one in, and you would have both performances and they would both be real and they would both be interacting with one another. It’s just very difficult and very expensive to paint someone out of a moving-camera [image] and then replace them with something, but we factored that in.

And despite District 9’s $30 million budget, it doesn’t suffer much in comparison with Avatar and, I would argue, is the better film.

District 9

The comparison between the two films is also interesting in that Blomkamp’s training and experience was an animator and special effects artist, while Cameron’s was not. (True, Cameron can draw, a skill which is often considered the holy grail of qualifications to becoming an animation artist or special effects artist, he never had any particular training in either craft.)

2009 Library of Congress National Film Registry

Little Nemo

The 25 films selected by the Library of Congress for the 2009 National Film Registry were announced today and include the usual mix of classic Hollywood, independent , documentary, amateur and student films. (The Library’s press release announcing the list can be found here.) Also as usual, I found the selection a mixed bag, but among the selections I have no quibble with are Sidney Lumet’s Dog Day Afternoon (1975) (a particular favorite of mine) and Winsor McCay’s first film, Little Nemo (1911) (a pick that was way overdue; pictured above is one of the film’s most magical moments).

Animated films have almost always made the cut since the Registry was first established in 1989, but they do seem more prevalent this year and include: Sidney Peterson’s The Lead Shoes (1949), (a live-action/animation combo that is more of a trick film), Sally Cruikshank’s Quasi at the Quackadero (1975), Janie Geiser’s The Red Book (1994), and Helen Hill’s Scratch and Crow (1995) (a student film made at CalArts; the other student effort this year is Martin Brest’s Hot Dogs for Gauguin [NYU, 1972], “with a cast including Danny DeVito and Rhea Perlman in her film debut.”)

Noshi Iskandar

Noshi IskandarMohamed Ghazala reports that Noshi Iskandar, who has been a key figure in Egyptian animation since the 1960s passed away last week at the age of 71. He started his career as a caricaturist and starting in 1961, he helped set up the Animation Department for Egyptian Television; his works were screened at a number of international festivals; in addition, he was also an important teacher for several generations of Egyptian artists at Minia University, in Minia.