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T H E BLUR S E QUE N C E
For this we had to turn to a complex technique which required
considerable prel iminary experimentation.
In the original shooting, the dancer performed al normal speed
while the camera mechanism ran 24 times slower than normal
(shutter open 1 /2 second, shut t e r closed 1 /2 second). When
the dancer moved swiftl y, a large area of blur was recorded on
a single frame, when moving at a moderate speed a smal l er
area of blur resulted, and when not moving at all there was a
sha rp image with no bl ur. I n ot he r words, the faster the
motion the greater the area of blur.
With the camera adapted for this speed of 1 frame per second,
onl y 1 /2 a second of the action is recorded on each frame;
during the other 1 /2 second the rotating shutter of the camera
is closed to allow the film to be moved on to the next fra me .
S H OT T t k
T hus, if the dancer raised his arm in three seconds, only the first, ihird
and f if ih 1/2-sccond segments of the blur would he seen on three
successive frames of the f ilm; the action during (he second, f ourth and
sixth segments would not be recorded.
To record the action of the second, fourt h and si xt h 1 /2-
second segments, a not he r ca me r a (B) wa s r e qui r e d,
interlocked (either mechanically or electronically) with the first
camera (A),
The shutter of camera B was put 1 80 degrees out of phase with
the shutter on the A camera; in ot he r words, one camera's
shutter was open precisely when the other camera's shutter
was closed. Thus, we were able to record all segments of the 3-
second bl urred action.
mi three successive frames
of Camera "A ",
and on three successive frames
frames of Camera "B ".
Theoretically, the iwo cameras should have been in exactly the
same position in relation to the dancer, but of course this was
impossibl e. The probl e m was sol ved by having camera B
placed at right angles to camera A, with a semi-silvered beam-
splitting mirror set at 45 between each camera.
FIELP OFVIEW
CAIVi tHtA
A
98
99
Great care had to be taken to line up the cameras so that the
dancer appeared in precisel y the same position on the
vsewfinders of both cameras.
Assuming the shot of the dancer, performing at normal speed,
lasted 1 minute and 40 seconds (1 00 seconds), his actions
would be recorded as a series of blurs on 1 00 frames in camera
A, and on 1 00 frames in camera B.
I f proj ected at normal 24 fps speed, these 1 00-frame strips
would each have appeared as about four seconds of fra ntit-
motion. Our purpose, however, was not to consider them as
ordinary movie material , but rather as a series of consecutive
stil l pictures, to be converted back into a movie by a chain of
continuous mixes done on the optical primer.
M aster positives were made from the original negatives of the
two strips. M aster A was loaded on the direct projector head of
an optical camera, and M aster B on the beam-splitting head.
(Should the optical printer have had only one head, A and B
could have been shot in two successive passes).
I f we were to make a simpl e chain of 48 frame (2-second)
mixes onto a new opt i ca l ne g a t i ve , a dope-sheet such as
follows would be needed, each frame being frozen during its
mix-in and mix-out.
1 00
DOPE SHEET FOR S I N GL E M I X-C H A I N
1 A
I..
\4S F S./
18
2B
IIS
The result would consist of bl ur 1 A
mixing-out as blur I B is mixing-in;
a nd bl ur I B mi xi ng -out a s 2A is
mixing-in, etc. This woul d be seen
more as a series of static adj acent blurs
than as a blur that flows forward.
To hel p create more of a sense of fl ow,
a n ove r l a ppi ng of the bl urs wa s
required. This was done by a double
chain of staggered mixes. For this we
used the following type of dope-sheet:
101
DOPE SHEET FOR DOUBLE C H A I N OF S T A GGE R E D M I XE S
D O P E - S H E E T
F O R DO U L L E CH A I H
O F S T A CG E H E P H l . l E S
B E A M- S P L I T T I N G
P R O J E CT O R
H E A D
CA ME R A
T h e i m a g e o n t h e
f ie o pt i cs! n e g a -
t i v e (af t e r t r a m e
72) i* a l w a y s a
C o m b i n a t i o n o f 3
or 4 I m a g e s on
a d j a c e n t f r a m es,
w i t h e a ch s u c c e s s -
i v e i m a g e t i k i n f t
t u r n .
For example :
.Frame 72 IB
I A . 251 o 2A f i
501 of I B ,
-Fra me 96 la 5U_ I _
[(To) Frame 1O ie 251 of
3A. Z5 of 2A, *
S OS of 2B. etc.
102
T H E RE V E RS E - S PL I T - I MA G E S E QUE NC E
This is ihe last extended sequence of the fil m; in it the single
forward-moving Narcissus repeatedly spl its into two figures,
one continuing forwards, the other reversing on its previous
path of action whil e fading oui.
Onl y one master positive with a single figure was used. The
first pass consisted of the forward-going figure uninterrupted
from beginning lo end of the shot.
The second pass superimposed the same image on itself until
the split, at which point the master positive in the projector
head of the optical printer was run in reverse and mixed out,
while the dupe negative in the camera continued forward.
THE FI NA L Kiss CLOSE-UP
This was shot with a mirror placed as close as possible in front
of a brick wal l . At a certain moment in the shooting, the
camera was stopped, the dancer held his position rigidly, the
mirror was swiftly withdrawn to reveal the brick wall, at which
point the camera started shooting a g a i n, and the dancer
continued his action.
Later, in the optical printer, a slow mix was made from the
mirror shooting to the brick wall shooting.
Norman M cLaren (1 984)
M USI C : N O T E S B Y MA U RI CE B L A CKB U RN (1984)
The score for Narcissus was written in the traditional way of
music for fil m. That is, it was composed after the visuals were
edited; the key points of its general structure were known in
advance.
I t was decided, after discussion with Norman M cLaren, that
the musical style most suited to the spirit and unfolding of the
action would be romantic, with solo instrume nts. As to the
choice of instruments, Norman, woul d have liked to use the
panpipes as the main l ink throughout the fil m, but in view of
103
practical difficul ties, we final l y opted for the transverse (lute,
with the addition of harp and piano, and for a harmonic
background, a group of seven strings.
The melody for solo voice was composed and recorded several
months in advance of the final recording. Il was built into the
final mixing iracks with the addition of some harp and held
strings.
The synthe tic or "animated" sound was by way of being a
discreet homa ge to the i nve nt i ve ne ss of M cLa r e n, who
photographed it himself, following my score.
M y overall conception of the music was to give a kind of
subconscious interpretation to the story on the screen, and to
a ttra ct the a t t e nt i on of the ear as l ittl e as possible; in my
opinion, this a dmira bl e fil m was made fi rst and foremost
through the eyes.
104
N I MA T I O N T E CH N I QU E S
In animation fi l m, an illusion of movement is created frame-
by-frame, so that otherwise inanimate objects and forms
become l ife l ike on the screen. As a consequence, Norman
M cLaren defined animation as movements which are drawn,
rather than drawings which are moved. He believed that "how
it moves is more important than what moves. Though what
moves is important, in relative order of importance, it's how it
moves that's the important thing."
A l mos t a nyt hi ng ca n be a ni ma t e d: dra wi ng s, cl a y, sa nd,
matchsticks, nail s, oil pa i nt , e t c. Techniques a re myri a d,
l i mi t e d onl y by the ima gina tion of the a ni ma t or . Basic
equipment consists of a camera which can shoot one frame at a
time. But, as M cLaren demonstrated, not even the camera is
necessary when the animator draws directly on the film. Now,
computers are being used increasingly by animators; and the
opportunities offered by this piece of technology have, as yet,
only been glimpsed.
Here are descriptions of some of the more common animation
techniques.
C E L A N I M A T I O N
This is the most common method. Drawings are made on
transparent sheets of acetate (eel) for each stage in the action.
C onse que nt l y, e l a bor a t e s t a t i c ba ckg r ounds ( i n f ul l
chiaroscuro) can be painted on one eel, and only the moving
foreground figures have to be redrawn frame-by-frame on
separate eels.
P A P E R A N I M A T I O N
I nste a d of eel , the fil m is drawn on sheets of paper. Since
paper is not transparent as in eel animation, all the elements in
t he dr a wi ng have t o be r e pe a t e d f or e a ch f r a me . A
characteristic of pa pe r a nima tion is, t he re fore , si mpl i fi e d
drawing without chiaroscuro.
105
CUT-OUTS
Two-dimensional forms are moved by hand and filmed frame-
by-frame. L e M erl e, Spheres and Rythmetic are examples of
M cLaren's work with cut-outs,
OBJEC T A N I M A T I O N
Similar in spirit to cut-out animation; but here the animator
will move three-dimensional objects, some as small as beads,
others as large as mannequins.
S A ND, PA I NT, PASTEL ETC .
I i n i ' . l material s a re n .il ,:d ; I r a me ;u ;.i t i me l i t - n i mu i u i
begins with a "painting," and then proceeds to aller il frame-
by-frame. C onse que ntl y, errors cannot be corrected. The
animator must recreate the original state and begin again. La-
haut sur ces montagnes, and La Poulette grise are examples
of M cLaren's work in this method; al though, as he demons-
trated in Creative Process, he tended to use the dissolve as
the means of moving from one slate of the drawing io the next,
rather than the single-frame mechanism on the camera.
P l XI L L A T I O N
Human beings are moved one frame at a time. Consequently,
they can behave in ways not normal l y possible for humans.
N e i g hbours a nd T wo Ba g a t e l l e s a re t wo e xa mpl e s of
M cLaren pixillation.
A N I M A T I O N WI THOUT A C A M ER A
In this technique, first executed by Len Lye in the 1 920s, the
animator draws or paints or scratches directly onto movie fil m.
M cLaren made several films in this manner, most notabl y
Begone Dull Care, Hen Hop and Bl inkity Blank.
And, of course, there are all those other techniques waiting to
be invented!
Donald M cWilliams ( 1 991 )
1 06
National Offi ce
Film Board national du film
of Canada du Canada
Printed in Canada