Animasyonda görsel dil ve tutarlılık oluşturmak: “Kapı” animasyon filmi

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:

KAPI

Emre Zengineken

151177103

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:

KAPI

Emre Zengineken

151177103

Orcid: 0000-0003-0244-6009

Ocak 2020

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iv Yine akademik hay

, derslere ek olarak,

filmi

Emre Zengineken Ocak, 2020

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v

Emre Zengineken Sanatta Yeterlik Tezi

-Anahtar Kelimeler:

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-vi

ABSTRACT

CREATION OF VISUAL LANGUAGE AND

CONSISTENCY IN ANIMA

ON FILM

Emre Zengineken Proficiency in Art Thesis Department of Proficiency in Art Cinema Proficiency in Art Programme

Advisor:

Maltepe University Graduate School, 2020

In this study, the positive effect of the unconventional expression form created in the visual language via the animation film "Door" on watching the film, the viewing experience and the sense of loyalty intended to be created on the viewers was tested.

The imitation of reality in digital animations which are developed for the general viewers to easily watch the films produced with today's technology and which are produced with a photo-realistic approach does not serve the narrations of some productions. Considering the unique and limitless expression possibilities of animation, some productions hopelessly trying to look real although they are not have been the

Language and Consistency in Animation' consists of 3 sections to answer the question 'how can a movie be convincing without looking real in the context of the ideology and

In the first section, a review of sources on the history of animation and the breaking points experienced are discussed. In the second section, road maps related to the animation production process and the processes of creating a visual language in parallel with the conventional 3-screen narrative structure, subject, theme and suggestion were examined. The controlled experimentation and random implementations in this section put forward the purpose of the study. The third section includes the synopsis, treatment, scenario and analysis of the animated film 'Door' to concretize the approach adopted by the thesis.

Keywords: Animation, Visual Language, Consistency, Art Direction, Cinematography in animation, Cinema, Walt Disney, UPA Studio, Physical Based Render, 3D Animation, Low Poly.

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vii

I ... ii

RA UYUM BEYANI ... iii

... iv ... v ABSTRACT ... vi ... vii ... ix ... x ... 1 1.1. ... 2 1.2. ... 2

1.2.1. Emile Cohl ve Winsor McCay ... 4

1.2.2. Max Fleischer ... 6 1.2.3. ... 7 1.2.4. ... 8 1.3. ... 10 1.4. - ... 12 1.4.1. ... 14

1.4.2. CGI (Bilgisayar Animasyonu) ve Uzun Metraj ... 16

... 18 2.1. ... 21 2.1.1. ... 21 2.1.2. ... 22 2.1.3. - Previsualisation ... 24 2.1.4. ... 25 2.2. Hikaye Anlat ... 26 2.2.1. ... 27 2.2.2. ... 28 2.2.3. ... 30 2.2.4. ... 31

2.3. Temel Olarak Analoji ... 32

2.4. Hareketin Dili ... 34 2.5. ... 38 2.5.1. ... 39 2.5.2. ... 40 2.6. ... 44 ... 45 3.1. ... 45 3.2. ... 46 3.3. ... 48

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viii

3.4. ... 53

3.5. - ... 55

3.6. Sinematografi ve Film Grameri ... 58

... 63

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ix

Histoire de Monsieur Vieux-Bois, Lortac&Cave 1921 ... 11

Fernand Leger, Ballet Mecanique, France, 1924 ... 12

... 14 ... 28 ... 56 ... 58 ... 59 ... 60 ... 61 ... 61 ... 62

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x Emre Zegineken Derece Y.Ls. 2009 Ls. 2003 Lise 1999 2018 - 2015 - 2018 2013 - 2015 2008 - 2013 2008 - 2009 2007 - 2007 -2004 - 2007 Y 2004 Ulusal, Panel,

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29.04.2019-xi Salonu, (No: 253774)

-18.09.2003, ATypeI ty of Art and Design (UIAH) Helsinki/Finland, (No: 39759)

Ulusal, Dijital Sanat, 08.09.2017-10.09.2017, Istanbul Comic Art Festival, Saint Josepth liler Dernegi, (No: 150455)

04.05.2016-06

88563)

: Tokat, 1981 Cinsiyet: E

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1 ya -e n hayal B

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2

1.1.

(Bendazzi, 2016: 34)

1.2.

Dresden'de kuruldu. 1907'de Pablo Picasso, Les demoiselles d'Avignon'u resmetti,

- Ein Beitrag zur Stilpsy-chologie'yi (Soyutlama ve Empati: Sanat Psikoloji

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3

Weimar'da Bauhaus'u kurdu ve Gertrude Stein, Ernest Hemingway, Sherwood Anderson,

Ludwig Wit

Rhapsody

Nanook of the North (1921), Nosferatu (1922), The Last Laugh (1925),

ve Sunrise Battleship Potemkin (1925); Buster

The General The Passion of Joan of Arc (1928); ve

The Crowd (Bendazzi, 2016: 29)

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4

(Bendazzi, 2016: 30)

olmayan (narrative,

non-okuma proble

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5

-balon gibi patlayan b

edilir. (Bendazzi, 2016: 31)

Cohl bu yeni mecrada ilerlemeye devam ederken, New York gazetesinin

(1867-merkezleri olarak tasarlana

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6 Alman U-ydi. (Beckerman, 2003: 19)

1.2.2. Max Fleischer

1918-r

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7 b 2004: 25) y

1.2.3.

momentum, ya da y

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8 silinde sayede oyunc

1.2.4.

a) 1946 da Stephan

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9 (Bendazzi, 2016: 8)

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10 kendi kaderinden bir beklentisi yoktur.

1997:112)

1.3.

i a oldu. mekteydi. Bunlardan Collard, Lorta -ve

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-11

r ve

ak

1 Histoire de Monsieur Vieux-Bois, Lortac&Cave 1921 (https://fantoche.ch/en/film/histoire-de-mr-vieux-bois)

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12

2 Fernand Leger, Ballet Mecanique, France, 1924

(https://wondersinthedark.files.wordpress.com/2009/12/balletmecanique.jpg)

1.4. -

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13

bu yeni

imkan verdi. (Bendazzi, 2016: 17)

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-14 3 (https://medium.com/animation-appreciation/the-multiplane-camera-a5581d7ea926)

-1.4.1.

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-15

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16

1.4.2. CGI (Bilgisayar Animasyonu) ve Uzun Metraj

girmesiyle sanat ve

urdu. (Bendazzi, 2016: 18)

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17 kurabile

genelinde ise 362 milyo

20)

Luxo Jr se

20)

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18 Doku: . Tipografi: tipografidir a manda filmin

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19 Arka Plan:

plan da buna dahildir. (Furnis M. 2008: 26)

M. 2008: 27)

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20 Fa

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21 Landscape Divertimenti

(1991-2.1.

sorunun cev le verilebilir. (Blazer, 2016:95)

2.1.1.

Film festivali,

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11-22 30 sn, 2 dakika, 1 saat vb

amak

Ne zaman bitmesi hedefleniyor? 1 ay, 6 ay vb. (Blazer, 2016:117)

mutlaka tespit edilmelidir.

Plot (Konu):

Theme (Tema): psikoloji,

2.1.2.

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23 san

birer izlenim

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24 2016:185)

2.1.3. - Previsualisation

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25 Minimal, Yava Sakin, Sade, Rahat okunabilir vb. beklenemez. Aksine

2.1.4.

(Blazer, 2016:256)

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26 r?

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27 kur

olmayan (narrative, non-narrative) an

bir

2.2.1.

1. Karakterin bir problemi var 2.

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28 -4 (https://www.slideshare.net/Safiya8/three-act-structure-32453364)

2.2.2.

engelleyen problemlerin ne o

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29 1. Perde: a. b. c. 2. Perde a. b. c. 3. Perde a. b. kuruludur. Fizyolojik rengi, kesimi vb. Psikolojik Sosyolojik

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30 ve kahr

l

gelene kadar

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31 Neyi sever neden nefret eder?

r ile

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32

2.3. Temel Olarak Analoji

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33 in sonuna Analoji Denklemi 2008) ve . Karakteristik kler

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34 nesnenin yer Bir b

2.4. Hareketin Dili

ve hareketlilik izlenim 2008:138)

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35 in eder. -ketin kari -sini

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36 bi

Anime izleyicisinin animeden beklentisi, PBR (Physical Based Render) olamaz.

ku

g

iklerdir.

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37

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38 ka

beli

2.5.

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39

2.5.1.

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40

izleyicinin zihninde realite ile bir

ik olarak da ele almak gerekir.

n hareketlerinin,

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41

e Render), Motion Capture (Hareket

tilip reel bir filme entegre edilmesi ve

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42

tada

Roman, hikaye, ma

karakterin a

-temleri dizisi, hikayeleme diye

(53)

43 renk, form, doku,

lidir.

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44 k yal

2.6.

3 boyutlu bi olmakla birlikte

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45

3.1.

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46

3.2.

ahve ve

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47 Cem,

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48 misafiri usunda cesaretlendirir.

3.3.

KAPI 1. C

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49 Bu benim ofisim! 2. le! 3. a gibi 4. et!

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50 5.

6.

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51 8. meye olacak o i senin psikolojini 9. 10.

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52

zdi. Bu adam

Al

dostum.

11.

Cem tekrar ofisine girer.

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53 Koray: Kes sesini!

13.

Cem ilk sahned

3.4.

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55 hedeflenmektedir.

3.5.

-e, bu tezde g leri Hikayenin izle

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56

-out, stop motion ya da

yapay yo

uns

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57

-stretch ya da anticipation gibi prensiplerin

-ease out, layout ve

secondary action ve yer yer follow through overlap prensipleri kulla

Jenerikte

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58

3.6. Sinematografi ve Film Grameri

tercihleri ile

6 Emr

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59

a girene kadar

(70)

60 8

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61 9

k bir fikri yoktur.

tir.

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62 270 derecelik kamera hareketidir

bu hareketin.

11

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63

-

-nulan alternatif

(74)

64

ta, sanatsal, plastik,

-a

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65 ir tercih meselesidir. i, genel , Walt St Bu -belirleyecektir.

(76)

66

rsel stili ile,

i haline gelmemesidir. Filmin konsept, storyboard

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-67

Adamson J. (1979). New York:

Oxford University Press.

Andrew, J. D. (2010). B y k (Z. Atam, ev.). stanbul: Doruk.

Beckerman H. (2003). Animation: The Whole Story, New York: Allworth Press.

Blazer L. (2016). Animated Story Telling: Simple Steps For Creating Animation And Motion Graphics, San Francisco: Peachpit Press.

Bendazzi G. A (2016). World History: Volume I: Foundations - The Golden Age: Volume I, NewYork: CRC Press Taylor & Francis Group.

Bendazzi G. (2016). A World History: Volume III: Foundations Contemporary Times: Volume III, NewYork: CRC Press Taylor & Francis Group.

Besen E. (2004). Drive to Realism, Animation World Magazine,

https://www.awn.com/animationworld/drive-realism-disney-harryhausen-landreth-part-1.

Furnis M. (2013).

Furnis M. (2016). A New History of Animation, London: Thames & Hudson.

Furniss, M (1998). Art in Motion: Animation Aesthetics, Indiana: Indiana University Press.

Holloway, R. (1972). Z is for Zagreb, New York: A.S. Barnes.

Krasner, J. (2013). Motion Graphic Design: Applied History and Aesthetics, London: Focal Press.

Maltin L. (1987). Of Mice and Magic: A History of American Animated Cartoons, Revised and Updated Edition , New York: McGraw-Hill Book Company.

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68 Napier S.J. (2008)

Macmillan,

Stephanson, R (1990). Cinema As Art, London: Penguin Books.

Pilling J. (1998) A Reader in Animation Studies, Indiana: John Libbey & Company Ltd. Wells, P (1998). Understanding Animation, London: Psychology Press.