PROBLEM STATEMENT
In the 1980s, the cinema has evolved with the technological advances of the world, with the creation of new and improved software to create the animation of the synthetic image in 2D and 3D and form a hybrid cinema with real images taken to a field of illusion through the computer.
A large part of the Hollywood films are created with visual effects. Each image is taken with a film or video camera and is taken to a computer for the realization of the animation.
- 'Realism' is the concept that inevitably accompanies the development and assimilation of 3D images by computer. In the media, in informative publications and in scientific articles, the history of innovation and research is presented as a progress towards realism, understood as the ability to simulate any object in such a way that its image can not be distinguished by computer. of a photograph. At the same time, it never fails to point out that this realism is qualitatively different from that of optical image technologies (film and photography), because simulated reality does not maintain an index relation with the existing world. (Manovich, 2001: 246) *
Speaking of Hollywood movies, they are the highest grossing in the world. Everything is due to the development of the machinery and software used to give movement to each digital image.
Thanks to the companies IS & CA, acronym of Image Synthesis and Computer Animation, it generally refers to the animation with three-dimensional synthesis image. CGI Computer Generated Imaginery is also used for a specific field of work with synthetic imaging and computer animation. They are the tools that take everything to a hybrid mixture between reality and fantasy.
- they represent extravagant and completely impossible events and actions, although they are extraordinarily realistic. Naturally, these images of unusual actions, fantastic facts and strange beings, are amazing because of what they represent; However, the astonishment they produce is similar to that experienced by the spectator of the early times, as it seems to center around the `problem of 'how' it is possible to produce such high levels of precision of the surfaces in such obviously impossible scenes." ( Darley, 2002: 92-93). *
But nowadays, the evolution of the cinema has died, the movies will always be based on monsters from another planet, humans with super powers, zombies, robotic transformations, etc. Synthetic cinema is the illusion of all spectators who love fantasy, creating a hybrid cinema that lacks total reality.
- Professor Machado does not believe that there is an aesthetic similarity with Renaissance realism, in any case if with the relationship he establishes between the real and the representation. In the same text characterizes the realism of the IS & CA: "The synthetic image staged that paradox of the real in a way like no other medium had done before. Currently, it is the medium that remembers most realism (while other arts go systematically) in the opposite direction) and, however, contradictorily, is the most abstract of all expressive systems, as its most immediate referents are the mathematical equations that give it lifetime ". (2000: 103). *
SPECIFIC OBJECTIVES
• Create movies without relying on books, comics, among others (imagination only).
• Set ideas to expand our imagination.
• Understand exactly why these films are so complicated to shoot.
• Analyze complex movies to understand.
• Reflect on this topic.
THEORETICAL FRAMEWORK.
Synthetic realism and animation
Today the field of animation has been completely redefined, and in turn has widened. The pure image, which is the consequence of a single process of appropriation - both that which comes from the film or video camera and that constructed using traditional animation techniques - is already very rare to find in massive image devices. On the other hand, a mestizo image is often seen, generated by a multitude of constructive processes: graphics, animation and optical capture image, etc., all of them to some extent digital.
At a certain moment of its realization in modern rendering devices, the images are converted into data. This common technical base, which meant the introduction of digital technologies in the audiovisual, facilitated the transfers between means that throughout the 20th century were considered ontologically different: the artificial nature of animation, graphics, typography, and image " live-action "were conjugated to generate a hybrid aesthetic.
Cinema, television, advertising, motion graphics, all use digital images; In addition, much of the process of creating these images, an animator intervenes. Much of this animation seeks an analogy with reality to be able to integrate into an image captured by a camera, thus being able to represent impossible things, or too expensive to produce in a conventional shooting.
The basic objective is to convert the synthetic image to a digital and animated image.
AJANOVIC, Midhat, 2004. Animation and Realism / Animacija i realizam, Zagreb: Hrvatski fimski svez / Croatian Film Club's Association. Query: 02/20/15
conadeanimacion.blogs.upv.es/.../luz-camara-render-el-software-de-imag.
THE HYBRID MEDIA
It is impossible to define exactly the field comprised by a means of communication, since its limits are imprecise and mixed with other fields. It is difficult to continue thinking of the media as autonomous and independent, since they present themselves as hybrids. Hybrid media are the result of a combination of different means of communication, in which different technical supports are juxtaposed. This new hybrid language of moving images is dominating visual culture on a global scale. The results of the process of said hybridization generated a new kind of visual aesthetics that did not exist before. This interaction between techniques of different media is a fundamental characteristic in the culture of moving images, which is called deep remix. United by the common environment of software, film, animation, typographies, have come to form a new metamedium, which can use all techniques, or any set of them, while before they belonged exclusively to each of those means by separated.
Currently, the opposite occurs. The moment of the convergence of means overcomes the old divergence. The media separately began to combine in a thousand ways. "After the nineties, the" pure "medium became an exception, and the hybrid media, the norm" (Machado, 2008).
The basic objective is to identify how cinema can be seen in a field mixed with reality and illusion.
Machado, A. (2008). Convergence and divergence of the media. In Looks, Audiovisual Magazines. Barcelona. Query: 02/20/15
fido.palermo.edu/servicios_dyc/.../vista/detalle_articulo.php?i
THE SYNTHETIC IMAGE
From real objects the camera generates realistic images. There are techniques, always based on the camera, such as traditional cartoon and special effects, committed to creating images of illusion, unreal; these techniques, however, end up succumbing to the unavoidable laws of the physics of the materials with which the illusion is created: the acetates, the models ... The computer, on the other hand, allows to visualize objects that do not exist in the natural reality, producing, in the most creative or artistic end immaculately fantastic images, without any precedent in reality. There are other correspondences, such as the one that gives rise to "composite images", that is to say a mixture of real and unreal ones, which are the result of the use of image mixers, also of digital base technology such as the computer. The "realistic electronic graphics" is one that, while handling intangible objects, produces images that imitate reality, which is a whole school of computer graphics. Another correspondence, which crosses from left to right and from top to bottom, is the "scientific imagery", which is dedicated to visualizing natures such as the cellular world, the universe from satellites and telescopes, the spiral of DNA ...; that is, real natures such as life itself, but which seem like completely invented images. There is also the infographic based on mathematical models of phenomena of nature, such as complexity, chaos, fractal forms; even inspired directly by the real appearance of nature and without a priori artistic pretension, this infographic gives rise to fantastic and often very beautiful images.