2. The three-dimensional dilemma
Certain camera movements are virtually
impossible to realize in animation. Naturally, these are those wild rides
including dolly shots (the camera is mounted on a crane or sits on rails) used
by some ambitious director, sometimes to the sorrow of many cineasts. People
and other moving objects are stylized (simplified) enough to animate them in
such a way that a spatial impression evolves. But if you try this with
backgrounds, the expenditure of work becomes intolerably high.
It can be now tried to simplify the backgrounds as well. But in this case
the sudden change from the familiar realistic backgrounds to stylized ones and
vice versa gets really annoying. I have seen only one scene in an anime so
far where this has been tried and of course it did not work. So it is advisable
to do the right thing and give up this option. Note that this is only the case
when one tries to animate the background itself, normal zooms and pans not
included.
The only remaining possibility is using a single big panoramic picture
as a background and pan the camera across it. Unfortunately this is not
a too flexible method. Its main utilization, simulating a circular pan in
which the camera is moving around a person or several people, has become
rather a cliche nowadays. This technique can be used much more effectivily
in flying scenes, when the ground or something else falls behind in an
impressive manner. Well, there are not too many flying scenes in "A
Little Princess Sara", but once the method was used to express a
sensation of dizzyness.
Usually, uncommon camera movements are avoided in the
series. But when a scene is planned to have a strong spatial effect, an object
or a person takes the dominant part and is shown in an extreme close-up view,
in most cases only for a moment. On the left there is an example using the
worm's-eye view. There are of course also ordinary zooms, but they are
somewhat trivial and I will skip over them. And a scene like that
combined with a zoom would match better with the thriller or horror
genre.
The right example shows a really skillful utilization of the available
resources. Note that a camera movement is simulated by animating only the
carriage. This stylized object is very suited for the concept of concealing
details when objects are shown from farther away. (There is a technical term
for this concept but I don't know the English translation, sorry. ^_^)
By the way, the space of time in which the window becomes opaque is only a few
milliseconds long. The second part of the scene combines a normal pan with
a normal zoom backwards. What makes this special is the background picture.
It is constructed in a way, that the effect of the zoom is emphasized. At
first, only the steps are visible at most. Only after the zoom starts, the
vanishing point slowly comes into view. In this case this is the point where
the red carpet vanishes into the house. Now that the background picture is
"vanishing" faster to the top than the zoom itself does, we attain the
desired result.
Generally, the principle we came across while
dealing with the unusual visual angles holds also in this case and even more
strictly than before. You can still ruin the whole scene by using such an
effect in an improper way. Just because it "looks good" does not mean that you
want to carry it to far with your directing "skill". The two scenes cited here
are both connected to important events in the storyline which justify their
presence. In the first, Sara is confronted with real poverty for the very
first time, as Mariette relates Becky's life in the Seminary to her. In the
second, a very important character, Mr. Carrisford is introduced.
So far I have dealt with all the examples under
a certain technical aspect, respectively. But in this manner the whole
dynamism of a film has not been taken into consideration. How this is meant
will soon be revealed at the next page where it is demonstrated that direction
is not just a concatenation of seperated themes but can also
tell a story.
Back to the introduction
Taro Rehrl
(e-mail), 1998-09-20, 2002-08-17