The Camera in Animation Film

Subject guarantor:

Martin PROCHÁZKA

Name of lecturer(s):

Martin PROCHÁZKA

Learning outcomes of the course unit:

Recognition of the difference between animation and normal speed recording and a mastery of time-lapse recording.

Mode of study:

Classes with samples from puppet and cartoon animated films

Prerequisites and co-requisites:

Have a fancy for puppets and derive pleasure from giving life to non-living things.

Recommended optional programme components:

-

Course contents:

Topics

1/ Development of the concept - the film camera and significance of camera work in film

Cameraman quotations (Josephe Rotuno, Henri Alecan)

2/ Attempts to depict movement: J.E. Purkyně - kinesiscope- zoetrope, R. Anschutz - Magic Barrel, C.E. Reynaud - Praxinoscope

3/ What is animated film? - analysis. Brief history of Czech and International animated film

4/ Camera - Particulars of cameras for animated film, ramps, panorama, statives and other equipment. Light sources - technical conditions.

5/ Cartoon film production processes I - subject matter, script, time-lapse script, storyboard, pen-stop recording, working with the camera, assembling the edit pauses, approval.

6/ Cartoon film production processes II - manufacture dept, conturing, coloring, classical and digital processing, final copy, Master MG track.

7/ Animated film - Ex; P. Kautský, L. Šimková, I. Pavlátová, etc.

8/ Surface-paper film

9/ Relief film

10/ Puppet film - introduction. Animating not only puppets but also objects, plants, people, etc. Various types of lapse animation. Shooting slow or quick frequencies.

11/ The film diagram in science and documentary film, science, documentary and feature film models. Animation of objects - articles. Working with objects in normal or changing frequencies.

12. The puppet and its origins. The Far East, European puppets. Puppet types and sizes, materials from which they're made. Through the cooperation of the puppeteer and the puppet cameraman, no matter what the material, it comes alive.

13/ Fundamentals in the cooperation of the cameraman with the puppeteer/animator in puppet theatre and in film. Lighting various environments and puppets which move in them. Working with live actors-pixelizaiton, the live actor and the puppet, shooting with various camera frequencies.

14/ Course base on screenings of selected student films and evaluation of the camerawork.

Consultations with the Animation students.

Recommended or required reading:

Literature :

„Le Théatre optique d´Emilie Reynaud“, J. Deslandes sborník Historie compareé - Appendice I, Casterman 1966),

„Z klubíčka vzpomínek “ - H. Týrlová - Film a doba 1964,

„Karel Zeman“,olektiv autorů (naklad. Blok 1896),

„Film loutkový, Kamera filmová, Kresba přímo na film “ , (obrázková encyklopedie Film a technika, SNTL 1974),

„ Walt Disney “, B. Jachnin (ČSFÚ 1990),

"Výtvarníci animované tvorby , (oborová výstava Mánes 1988),

„Loutky “, Ivo Houf (katalog Výstava Galerie hl. m. Prahy 1985,

„Prager Trickfilmer“, A. Ade, J. Šalamoun (Stuttgart 1980),

„Výtvarníci animovaného filmu“ - J. Poš (Odeon Praha 1990),

„Panáčci na plátně “, J. Tibitanzl (ŠFÚ Praha 1989) ,

"Český animovaný film 1934-1994),

„Die Welt des Poppenspiels“, kolektiv autorů (Henschel-verlag Berlín 1989),

„Úvod do práce kameramana, kreslený film, loutkový film“.

FILMY:

„Autour d´une Cabine“ , E.Ch. Reynaud (Paris 1896, archiv KF a.s. Praha )

„Ferda Mravenec“ ,H. Týrlová (Zlín 1942),

„Svatba v korálovém moři “, kolektiv autorů (Praha 1944),

„Vánoční sen“, K. Zeman ( Zlín 1944),

„Pane pojďte si hrát “, B. Pojar,

„Pasáček Asaf “, I. Renč,

„Herec, kterého není vidět “ , J. Boček ,

„Špalíček“, Jiří Trnka,

„Johannes doktor Faust“, E. Radok,

„Krysař“, J. Barta,

„Robinson Crusoe“ , S. Látal,

„Leonardův deník“, „Hra s kameny“, „Zamilované maso“, „Konec stalinismu v Čechách“, „Don Šajn“, „Rakvičkárna“, „Jídlo“, „Něco s Alenky “a „Lekce Faust“ - vše Jan Švankmajer,

„Spejbl a Hurvínek“, L. Koutná a M.Kirschner,

„Včelí medvídci“, L. Koutná,

„Media“ ,T. Koutský,

„Křižovka“, M. Pavlátová,

„Pelargonie“, L. Šimková,

„Akrobat“ ,T. Luňák,

„Velký kýchač“, N. Držiak,

„Pád“, A. Klimt,

„Prasavci “, M. Žabka,

„Kapitoly českého animovaného filmu “, J. Hádková

Planned learning activities and teaching methods:

seminar

Assessment methods and criteria:

Credit will be awarded for active participation in class.

Course web page:

Note:

-

Schedule for winter semester 2013/2014:

The schedule has not yet been prepared

Schedule for summer semester 2013/2014:

	06:00–08:0008:00–10:0010:00–12:0012:00–14:0014:00–16:0016:00–18:0018:00–20:0020:00–22:0022:00–24:00
Mon	místnost 225 Učebna B KK (Lažanský palác) PROCHÁZKA M. 12:20–13:55 (přednášková par. 1)
Tue
Fri
Thu
Fri

Date	Day	Time	Tutor	Location	Notes	No. of paralel
	Mon	12:20–13:55	PROCHÁZKA M.	Učebna B KK Lažanský palác		přednášková par. 1

The subject is a part of the following study plans:

• Cinematography - Bachelor (qualification subject)