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#animation – @mementomorioh on Tumblr
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Hyperfixation Station

@mementomorioh / mementomorioh.tumblr.com

Az (or Mori) - Age 30+ - my gender is VOID (“they” is my fav pronoun)
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The Glassworker - Mano Animation Studios

Directed by - Usman Riaz

Pakistan’s First Ever 2D Hand Drawn Animated Film

Currently in Pakistani Theaters as of July 26 International release is coming soon <3

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art-the-f-up

Not enough people here on tumblr are talking about this movie but the director built the entire studio from ground up for this work of art. It's ten years of effort put in by animators, artists, and musicians. It is an ANTI-WAR film with beautiful metaphors and transitions and dialogue. It is an entirely HAND-DRAWN animated film in a country where animation didn't even have the scope before.

The themes of the movie accurately depict even the current world events and the story itself is also very sweet.

The director of this movie was very inspired by Studio Ghibli. Please please make sure to watch the movie as well as the documentary of the making of this film when it comes out in other countries because it makes you feel like you can do anything and achieve any goal no matter how impossible it seems.

ALSO, the director named Mano Animation Studios after his CAT!!!!!!

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One of the things that sucks about being an animation nerd is having to live with the fact that, from a technical standpoint, the Hotel Transylvania movies are absolutely ground-breakingly staggeringly incredible.

As completely ignorant on animation, why is that? How is Hotel Transylvania any good??

The short version is that they’ve been figuring out how to plug the strengths of traditional animation into cg animation.

Longer version: cg animation is essentially puppet animation. You build a model, paint it and dress it up, and then move it around. That’s why Pixar’s first animated film was about toys, and their second one was about bugs: it’s much harder to make something look convincingly soft and fleshy than it is to work with something that’s supposed to be rigid.

Working inside this paradigm, the progression that makes sense is to work on developing more and more articulated puppets. Figure out how to add fur (Monsters, Inc.), move fish (Finding Nemo), get to the point where you can actually make human puppets who look appealing (The Incredibles.) In 2012 the big animated feature films showed off huge strides in particle physics (The Guardians), and hair (Tangled, Brave). Character effects and lighting were really hitting their stride, and the general movement was towards more detailed models, increased realism, richer and more intricate environments. The models only had so much range before they started to break, so squash & stretch was never going to be as pronounced as something from drawn animation could be. Hotel Transylvania challenged that.

As a show creator and director, Genndy Tartakovsky’s always shown a preference for stylization. He’s also got a reputation for incredible and deliberate timing, spectacular silhouettes, dramatic movement and clear staging, and just overall really good at directing animation. He wanted Tex Avery-type animation in CG and by golly, he did it.

Look at how exaggerated those shapes are, and how snappy, smooth, and fast the transitions between each one: that’s not something that was really being done. The motion-blurring alone was so defining that apparently Sony calls it a “Genndy blur.”

Animation is essentially the art of movement: the better the movement, the better the animation, and the Hotel Transylvania franchise has spectacular movement.

The model is actually being resculpted for maximum exaggeration, and the smears and blurs make the transitions between each pose fast, energetic, and snappy.

Like. Look at that movement. Look at how tightly he’s rooted while the follow through of his clothing sells the hard stop of each hip bump. Look at how sharp and deep his knees are bending, the way his weight shifts onto his heels and that tiny little side step at the very end, where he keeps his weight on his right foot for a split second before popping over to his new position. And he’s dancing the Macarena because he had to find the most brain-dominating, toe-tappingist song in the universe to win a DJ battle where a Kraken was being driven into a murderous rage by a mystical melody and it had to be counteracted by another song.

Yeah.

Somebody once described the Hotel Transylvania franchise as “like seeing Lamborghini making a clown car,” and honestly, that’s kind of what it’s like.

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as a knitter, you start to notice how rare it is for characters in tv shows and movies to knit correctly. from worst to best, it ranges from:

- laughably incorrect, just flinging yarn around

- knitting the most basic scarf incredibly slowly because the actor Learned How To Do It For The Role

- old lady actresses casually knitting an intricate lace pattern while doing a monologue

- gromit from wallace and gromit

1. that’s a garter stitch, which you can clearly see despite it being made of clay

2. they took the time to animate a modified continental style of knitting, including showing how his working yarn is wrapped around his pinky, and that he’s flicking with his index on his right hand

3. he only has four fingers and yet this is better than the vast majority of knitting on tv

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prokopetz

why is wielding a comically oversized hammer such a common visual shorthand for femininity

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There are a few different sources that stuff is drawing on, but a big part of it traces back to a decontextualised trope from 1980s anime.

Basically, smutty gag anime from the 80s – if you're not familiar with the genre, think stuff like Urusei Yatsura and Ranma ½, though the latter is a relatively late example of the type – had a recurring bit whereby a schoolgirl would be sexually harassed by a lecherous male character, and respond with comically over-the-top violence.

Usually the guy would just get kicked in the face or something, but shows that were aiming for a more cartoony vibe would occasionally incorporate various Looney Tunes references, including the classic giant mallet. Though this wasn't actually terribly common in the source material, later parodies of the trope canonised the Looney Tunes mallet as the standard response to sexual harassment in such media.

As the trope spread beyond smutty gag anime, the sexual dimension was gradually downplayed, and the giant mallet gag was likely to appear in response to any annoying behaviour by a male character toward a female character, not just sexual harassment. However, the memetic association with schoolgirls remained intact.

From there, it's not difficult to see how memetic mutation gets you from "schoolgirl uses giant mallet to smash male characters who annoy her" to "schoolgirl uses giant mallet to smash anything that annoy her" to "hee hoo, small girl with big hammer funny".

By the time the trope percolated back into Western animation (ironically having originated there in the first place!), the original context had been entirely lost, and now giant mallets are just generically associated with young female characters.

So, as with many things, ultimately it's Bugs Bunny's fault.

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80sanime

Interesting trivia: The third opening of Kimagure Orange Road shocked many animation otaku at the time of its release. In addition to being one long continuous take, it features several rotating shots, something very difficult and time-consuming to render via hand-drawn animation. This level of effort was practically unheard of for a weekly television series in 1988, and to this day it’s considered one of the more technically laborious anime openings ever made.

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I'll never be over this animatronic of Belle they're making for Tokyo Disneyland. It's better animated than the live action Lion King.

Bitch wtf this shouldnt look better but it does

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themanicnami

Honestly animatronics like this is why I think puppet animation and special effects need to be brought back into movies. CGI the human eye will most of the time notice is just that - CGI but things like animatronics mixed with good CGI can really push home that they are physically real - they move more realistically, they have actual light hitting them, etc. Honestly, if Disney really wanted to they could be the leading power in special effects if they took some of their imagineers and put them onto movies.

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