Image Processing Reference
In-Depth Information
AnotherindependentdirectorandanimatorfromtheBostonarea,Daniel
Sousa,alsoworksinthisverticalmultiplaneframe-by-frametechnique.His
1998 film Minotaur isanexampleofthisapproach.HereishowDandescribes
his process:
“Most of the character animation was originally hand-drawn on a light
table, cut out, and mounted on rigid cardboard. This was done so that
each replacement could stand up vertically within a three-dimensional
set. The set was then lit with fiber-optic lights and shot in stop-motion,
using a 16 mm Bolex camera. Some of the animation was done as hinged
cutout puppets on glass, using a multiplane rig.”
Fig 7.12 a still from Daniel Sousa's 1998 film Minotaur . Courtesy Daniel Sousa © 1998.
Backgrounds
The final subject to cover is the background or bottom shooting planes on
a downshooter. There have been downshooters and traditional animation
stands with many more than two shooting planes. The same issue of
shadows cast on one plane from the object on the shooting plane above
it still exists. This means that multiplane downshooters need to be pretty
tallandareoftencumbersometooperate.Depthoffieldbecomesan
issue with multiple planes. As a result, the lights need to be brighter, so
a deep depth of field can be achieved on a lens like f-22. Most stands use
two planes with dimensional objects stacked on top of each other on the
top shooting plane. Many times, three-dimensional objects, like candy,
coffee beans, or a sculpture, are shot on top of a green screen or chroma
background, which allows the object to be pulled off that background in
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