Image Processing Reference
In-Depth Information
Similar to music, when an animated sequence is highly active, it can be
exhilarating to watch. Too much exhilaration can be exhausting, and
the audience can start to drift away. It is critical to let your frame and
characters rest for even just a moment, so the audience can catch up and
digest what is happening and maybe even get a sense of character and
thinking from an animated subject. This is practical and adds dynamic to
any composition. Even with the lack of sound tracks, object movement and
visual frames can have patterns that create certain effects and illusions
to the eye. These patterns become recognizable to us because we know
their movement even though the objects are not necessarily related to
that movement in real life. We saw this in the work of PES. His candy-corn
flames and his pepper heart are great examples of movement that have a
distinctive pattern. The Pepper Heart features three or four red peppers in
increasing size that are replaced one after the other. The first and smallest
pepper is held for about eight frames, then each pepper is replaced with
a larger pepper. There is a brief hold (four to six frames) on the largest
pepper, then the peppers are replaced with smaller peppers (the same
three or four peppers), and the smallest pepper is held for eight frames and
so forth. PES uses the loop or a cycle of movement mimicking the repetitive
beat of a human heart. This creates a visual music of sorts that can be
appealing to the eye. The hold along with the changing pepper movement
make this a successful sketch.
Fig 9.4 a series of peppers that simulate a heart, peS. Courtesy and © PES.
William Kentridge follows his own intuitive approach to movement and
patterns. In his Fragments for Georges Melies , which is part of an exhibit that
traveled around the world in major venues, Kentridge gives his artwork a life
of its own through the use of stop-motion, drawing, and reverse playback
techniques. The artwork of one of his drawings appears to sink to the bottom
of the frame, until Kentridge enters the frame, frame by frame, and rescues the
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