50 Years to justice "The Trial of Paul Touvier"

Rochester Institute of Technology
RIT Scholar Works
Theses
Thesis/Dissertation Collections
1996
50 Years to justice "The Trial of Paul Touvier"
Kimberly Slack
Follow this and additional works at: http://scholarworks.rit.edu/theses
Recommended Citation
Slack, Kimberly, "50 Years to justice "The Trial of Paul Touvier"" (1996). Thesis. Rochester Institute of Technology. Accessed from
This Thesis is brought to you for free and open access by the Thesis/Dissertation Collections at RIT Scholar Works. It has been accepted for inclusion
in Theses by an authorized administrator of RIT Scholar Works. For more information, please contact ritscholarworks@rit.edu.
Rochester Institute
Department
of
Master
of
Technology
Computer Graphics
of
Fine Arts
Graduate Thesis Project
50 Years To Justice
"The Trial
Paul
of
Touvier"
Kimberly Slack
Spring 1995 Spring
-
1996
Thesis Committee
Robert Keough
Jim Ver Hague
Jack
Slutzky
Thesis Approvals
_
Thesis Committee:
Chief Advisor:
Professor Robert Keoughl
Date:
'/ - I ., - C((:
_
Associate Advisor:
Professor James Ver Hague/
Date:
7.; (., Ie.
_
Associate Advisor:
Professor Jack Slu}Zky/=-=--Date:
7/r "-+'---'
~",--,
I
_
_
Department
Chairperson:
_
Date :------,?HI;%<....t<02""i'0Lc~'I'_=0-----L Kimberly Slack
, hereby grant permission to
the Wallace Memorial Library of RIT to reproduce my thesis in whole or in
part. Any reproduction will not be for commercial use or profit.
A. Introduction:
1
Decision to create an animated Interactive CD
2.
50 Years to Justice, The Storyline
2
.
3.
4
Black & White
3. a. Pencil Sketches
3.a.l
5
6
Experiments in Computer Animation
3.b. Film Noir meets Computer Animation
B. Artists
1
.
used as
7
.
10
Sources:
Egon Shiele
14
2. Vincent Van Gogh
17
3. Bill Mauldin
20
4.
Eugene Atget
23
5.
Brassai
25
6. Magnum Agency.
26
7. Internet Usage
28
C: Software
techniques:
and
1. Poser 1.0
31
2. Painter 3.0.1
35
3.
37
Photoshop 3.0.5
3. a. Tweening
42
techniques
4. Debabelizer 1.6.5
45
Director 4.0.4
45
5.
6. Sound
a.
7.
Sound Effects 2.0 & Macromedia SoundEdit 16 1
Premiere 4.2
7.a.
InVision: CyberSound 1.0
8. Authorware 3.1
.0.1
47
49
52
52
D.
Interactive Module:
56
E.
Closing
Statements:
58
F.
Bibliography:
59
A. Introduction
1
I
Decision to
.
create an animated
that
chose an article
appeared
York Times
Sunday Magazine.
took
during
place
Touvier
tions
the trial
demned
from
the
during
to
men
was
death for
based
all
Paul Touvier
Nazi
for Vichy had
French
year of
that
World War II. The
the
part
events
in the
that
execu
writer reported
victims proved
he
the
the New
same year.
humanity for his
Touvier
for
stated,
end of
their
that
con
participa
World War II. I had the idea to
little known incident
on a
I liked. I
would
be
that took
the
resulted
In
the
in
a
The
police
took their
he
orders
assassination of a well
round-up
an era of
known
to the
the
history,
position of
Milice,
a
their German
targets
group
of
working
involvement
became easy
Chief
occupiers.
propagandist
of anyone suspected of
anti-semitism, Jews
the
process.
controlled were
directly from
cre
during
place
to incorporate
able
little dramatic storytelling in
who
1944,
resistance.
the
was a railroad clerk who was elevated
thugs
of
reported on
Lyon, France
religion and not as
of
elements
Vichy district.
controlled
In June
the
hopefully a
Police for the
their
the anniversary
The story had
animation and
of
final
edition of
resistance.
ate a multimedia project
war.
The author, Ted Morgan
Paul Touvier in
the
1 994
May 22,
several survivors and relatives of
tion in the French
1 995
in the
was convicted of a crime against
of seven men
evidence
of
Interactive CD
with
for
the
the
Milice.
The
Catholic
part of
the story that interested
survivor who witnessed
the
crime
me most was
Touvier
the
testimony
was accused of.
given
The
by the
survivor
was
imprisoned in
rounded
The
1
by the Milice
up
944) but
at
the
last
to
anti-semitic
lineup
back
and sent
appease
was
that
Touvier had the
to
the
first
animation students at
frame
me
were
the
the
next
morning (June
22,
from
the
Catholic,
pulled
closet.
saved
more
many
by having
Jews
the
seven
testified that the
and several others
merely because
seven men executed
part of
RIT
10
about
several
the
times I
initially
article as a
thought it
traditional
linear storytelling
use
of
their
would
heritage.
animation.
and convert
the
be interest
Most
of
the
digitized images
years experience with computers and none at all
safely away from
History has
over
and
dubbing
had
had been
resulting from his
a
intrigued
always
thought it
was a man who
ghosts
executed
had Goudard,
to the
he
be
to
film. I decided interactive story-telling
story
Jews that
seven
by frame to video.
I had
keep
the
for separating Goudard.
reason
animate
with
assassination.
the Germans. Goudard
After reading the story
ing
the
moment, Touvier
Touvier's defense
Thus the
after
headquarters
police
prisoners were marched out
condemned
executed
the
a closet at
on
order
the
years ago.
That
French
far
more
that Rod
run all
he
order condemned
by the
me
to carry
the Catholic church,
be
an appropriate
than
his life. He
out
their
to
government.
a
life
fiction
Serling
of
or
would
project and
fantasy. I
trial
After
for his
flight,
read
the
have liked. Here
was pursued
executions.
now stood on
him
thesis
video or
rack.
elements
ing behind
al conviction
would
in
relentlessly
a
lifetime
by
of
hid
actions carried out
50
condemnation and eventu
After talking
decided
advisors, I
with several school
animation where several cartooned characters would
each with
his
own point-of-view on what occurred
The story
chunks of
in
a set of
Quicktime
to tell
would
a narrative
be
final judgement
no
was chief of police
place
anti-semitism would
life-long
hatred
of
daily
nate
raids.
murder and
tance
were
Jews
in
22, 1 944.
June
of
divided into
chunks.
button
user pressed a
The focus
characters.
on one
The
with
of
my
work
incident.
Macon, France. He
was
in
charge of
occupation governor
influenced
later influene his
by his father,
during
the 20's
allegiance with
the
in Lyon.
economic and
and
30's. His
the Germans
was a propaganda minister who was well
have
the Allied
by the
forces
invasion
Henriot in his bedroom
to Touvier's
sination and ordered
the
the
in Southern France
Emboldened
resistance assassinated
According
based
heavily
was
radio attacks against
bombing
the
story-lines,
and a
Jews.
Phillippe Henriot
twice
of
directly to the German
Touvier's background
taking
character
own
Justice, The Storyline
police and reported
social changes
their
the morning
played when
several point-of-view stories
Paul Touvier
father's
be
by each
interactive
create an
each character.
2. 50 Years to
Milice
be
movies would
buttons for
There
was
would
have
to
him
to
them
who were
all shot.
and within an
carrying
out
Normandy Beach,
at
while
testimony, the Germans
round
known for his
he
indiscrimi
the French
slept.
were enraged over
the
up anybody that may have been involved
The only known
hour
of
his
order,
sympathizers with
his
police
had
the
assas
with
resis
seven men
jailed.
4
"Jail"
The
young
was a
to the
resigned
The
to
was a
fact
next
being
and
onto a
this
leading
to the
each of
my
could
bring them
truck. He
much more
execution.
actors.
prisoners were
I
wanted
to
brought
later
brought in
with
him
that
they
were
stated
out and
Touvier
returned
to the
Touvier
convict
to the story, I
chose
to
my
own creation and
during
the
creation of
I
of
focus
concentrate on character
They were
alive
by a
a week
soon.
had Goudard
singling-out would
Although there is
Goudard
possessions.
for
occupied
new prisoners were
they would be killed
morning, the
loaded
Catholic
their
relieved of
that
had been
closet and
Goudard. The
communist named
but they hadn't been
prior
broom
wanted
the screenplay,
met
crime.
the
on
Goudard
cell.
his
them
.
events
development for
to
how
see
well
I
storyboards and ani
mation process.
3.
Black & White
Early
1 6-color
in the planning process, I decided to
grayscale palette.
Grayscale
wider spectrum of colors allowable
grayscale, I thought the
with
cartooned
to
create
down in
was
figures fresh from
human like
the issue
concerned,
able.
movement
in the
standard
peg-board.
using the
to
256
My thesis
inking
be finished
to
in
than the
By
palette range.
unfinished
centered around
I didn't
all
and white or a
work with
to the rough,
computer.
of color registration and
they didn't have
only black
was much easier
look lent itself well
the
use
my
want
to
get
characters.
and polished
looking...
much
sticking
look
of
the ability
bogged
As far
.just
as
I
believ
Grayscale
itself to the
I
period.
There is little
film
by the
acterized
the
wanted
because I
was also used
to
characters
footage
color
noir movies
that
be
thought the
of
black
and white
World War II
between
were popular
more pencil sketched
and
the
the 40's
imagry lent
era
and
than traditional
is
char
50's.
cartoon
characters.
3. a. Pencil Sketches
The
I'd
colors.
ing
their
that
read
Disney
rudimentary.
the
sheets
I
on
the
came
to the
a method of
prior
to
inking
setting up the
tests, the
j \
the
pencil
a
be
time, I
Disney
that the
sufficient
came
the
style of
to
acetate cells.
Once the
laying
a sheet of
if|i&
pen
to tell the
like
the
cartoons more
animating
a car
character.
I liked Egon Schiele's
his drawings
acters.
as models
work and used
for my
His drawings had
a
own char
fluidity about
Self Portrait
test
scenes.
process of
{ /
first
acetate sheets and
decision
sketched character of
toon
pencil
and
with a registered set of
inked.
After
than the
how they looked
the
filled
had developed
key framing
by editing
and
pencil sketches were
cil sketches would
story.
in black
paper sketches was more
The
cleaned, traced
see
work was
scene was smoothed
acetate over
outlined
animators
to
animated scenes
The toughest
the
figure is
cartooned
by
Egon Shiele
them that
dark,
seemed
to invite
the
somber subject of
There
were several
kept renewing it
ings I
found
When I
was
on
the
drawing
on
on
the
books
on
time I
worked on
wall
for
help
I
the
hung
and
thesis.1
them
sometimes
in
my
I
checked one out and
copied some of
my desk
around
eyes would
drawing fingers,
trail
noses and
got stuck sometimes rather
than
his draw
home.
at
the
across
torsos.
They
flipping
through
book.
I
used
Shiele's
fingers
and mouths.
wasn't
shy
long
about
sinewy
I liked his
style of
ability to
in
The hands
me
in overcoming my
my
own
got started
his
own method of
fairly smooth,
brush
anti-aliased
character
and
artist used
horror
caricature-
desire
1 ike
use of
the
or anger.
body
Shiele's
artwork was a great
form.
Cartooning
experimented with
my
characters.
the Summer
which can
is completed, the
by the
were often wrapped around
sexual
exag
and mouths
inhibitions in modeling the human
drawing
during
The
darkened faces
anguish,
Shiele
noses and eyes.
express emotion.
almost
animating, I
cartooning feature I tested
the
legs
Experiments in Computer
.
Before I
arrived at
and
through
fingers,
eyes against
in exaggerating
guidance
loneliness, lust,
melodramatic gestures of
express emotions
3.a.l
of
elongating
exaggerating the figure to
screams.
or widespread
for
constantly for
style almost
fingers, hollow, fine-lined
into
contorted
help
drawing
in his drawings to convey misery,
geration
line
Schiele in the library. I
the computer,
were good reference points when
the
the
would go well with
story.
the World Wide Web
figures
sad eyed
entire
I thought the look
animation.
of
draw
techniques
Fractal Design Painter has
a
ink brush is
a
1 995. The
a clean
controls window
before I
is
pen and
black line. Once
opened and
the
the
out
paint
7
bucket
tool
75%
around
black
which allows enough
anti-aliasing
without
black
in
to
set
which
After this preparation, it is just
outline.
desired into
color
window, the threshold is
controls
The lock-out feature is
color-fill.
the
In the
activated.
the
figure
cartooned
set
to
interfering
somewhere
with a
effect creates a
a matter of
with each
black
up his
her
smooth,
barrier
out of
dumping whatever
defining
outline
distinct
a
color.
Painter
for
colors
the
even allows
the cartooning
But the
with
the
life
than the
more
and overall
sketchiness seemed
traditional
I
methods
I decided to draw the individual
movement or use
light board
live
models which
and scanned
and cloned.
The
cloned
into the
using
pencil
document
I
white
to
was
launched. The
black. Most
of
the
I
and
look
either
the
original
by approximating
the
I
was
sketched
happy
figures
characters with more
newsprint,
The drawings
of
gradient
effect.
using Poser to
drew
and
the
in Painter
the trace
drawing. I
the
create
out on a pegged
were opened
highlighted, deleted
image
3-D
wasn't sure
Shiele's
of
by a
from Painter's cartooning feature.
key frames
sketched on
replaced
created a custom palette
time Painter
I
was
brushes I'd defined
Schiele. These drawings then
be defined
to imbue the
could get
computer.
activated which created a ghosted
ure
own paintbox of registered
character can even
time-consuming
and
I liked the energy
The resulting
much more.
or
appearance of shadows or a slight
long
process was
end result.
the
set
The
process.
of colors which would give
to
user
penciled
feature
fig
traced the
drawings
of
originals.
in Painter
which would open
palette was grayscale
characters were
automatically
consisting
simply black
pencil
of
16
each
shades
drawings
from
on white
paper.
8
I
I later decided
ous shades of gray.
needed
create a
it in Painter
open
new,
simpler
black
using only
on
exaggerating the face
my
a
goal
Once the
figure. The head
over
time. I
him
I
to
changed
book "The Illusion
work with.
of
to
the
face from
a
drawing
when
I
his
enlarge
helped
animated
guy is harder to
cartoon.
exaggeration of
the
I
at
the
the
I
animations.
folders
differ
of
faces
in the
to
and
could concentrate more
created
last
summer
lifelike image.
head
some of
figure
the
of
to
This
suggest
Goudard
them to
was pasted onto
process
became
the
easier
in the
express emotion
the techniques.
he
his
character
or one of
look like
times, I thought the
was one of
he
nose and eyes when
to
wanted
face But
I
process easier.
was an almost ape-like character and
to
for
a pre-defined pencil
using
with each movement.
tried
consisted of vari
create more expression
completed, the
and
that
complicated
method of exaggeration
Life"2
was able
that easy
the
create a more
Disney's
too
summer
than matching the shading I
slightly
a stooped walk which
wasn't
of
rather
the
by picking
up
found
during
were
trying
was
process was
studied
The jailer
ended
pencil, I
had been
they
and clone
face. I
by
when
I
simpiler.
something
faces,
ent
faces
created a set of cartooned
the
was
in the
the
angry
story.
easiest
and give
But the trick
other prisoners.
A
good
good guys which required
character seemed
to
to
less
be devoid
life.
After the
entire set of
documents
were
completed, I
folder
to
Debabelizer
which converted
which could
be imported into Director. Director became
graphing tool I
used
for
the
the
entire
project.
another
set
up
folder
the
a
of
batch
process
indexed
in
picts
animation and choreo
I
was
could
creating the
initially
match
them
By
do preliminary
by floating
using the
would
there
have
then
resketch
quickly
I
also
to
the
had
in
to
rather
lines
and
around
Painter
I
and
the
outline
the
into
background
the
figure's
ran
I
appearance.
pencil
tool to
tool
with white
clean
up the
the
figure
ink to
while
creating the
anti-
body
Painter.
animated scenes were
drawings
heavy handed
when
barrier.
eraser or pencil
form
bleed into
paint program and use
and create a
tended to
to
or
characters, I
cartoon
would often
"fence"
the
use
later in Photoshop
than the
outlined
into Director's
Photoshop
The resulting
contorted,
figures
backgrounds into Poser
background.
the
character above
black
go
aliased clouds which
movements
the
sketched
was no
the
character movements or
in Director. The figures
several problems
because
by bringing
tests
sketchy
and somewhat similar
that Egon Schiele
had
during
created
to the
his life
time.
3.b Film Noir
I
of
wanted
the 40's. I
surveyed
lifestyles
the
had
the techniques
This
overall
taken
American
during
meets
a
feel
the story to
of
Humanities
cinema
from
class
the time it
be
similar
used
by the
using my
movies were able
to
vintage
the
most
to the
old
became
films for my
interesting
Film
noir movies
which
a reflection of mainstream
wanted
to
try
out some of
project.
part of
the thesis. I
computer which could capture some of
achieve.
film
Criticism"
titled "American Film
the early 1 930's through the 1 970's. I
was perhaps
create a scene
Computer Animation
noir movies were not
wanted
the
to
try
moods
heavily budgeted
and
the
movies
10
and
their
film quality
lighting
and
keep America
inside the
acters were often
filmed in
emotion
the
effective
in capturing
actor was
ing
to
try
I
produced
remembered
and
the
other
feeling
movie
of
that
create a
movie
period.
I
tual
to
shots were
capture
fear
and
desired
cafe was
dark
the tension
of
the only
the
dark,
refugees
I
how
well
the
the
but
excessive
would
be interest
the Macintosh.
of all noir
many low-budget
most successful and
also stopped
simple
lighted
they
place
and
slightly
waiting for their
the
video and
were.
in the
by heavy shadows.
tense
capture
char
Bogart, Bergman, Raines
of
villain.
and suffused
it
best known
perhaps
the acting
the Nazi
to
going to
as one of
on
lighting. The
during the class on
later became
an attempt
filmed mostly
face
thought
World War II
studied
their
without
the
period and
of noir were simple
effect.l
sets and was surprised at
in Rick's
on
The techniques
during
raphy in Casablanca is predominately
attempt
light full
had learned
actor who played
area
the
the
the camera,
early fifties in
punctuated with oblique
tension,
of
was created
background
interior
convey.
and
utilize
of
noir movies were
"Casablanca", probably
in 1 942. The
film
The bar
the
the
especially the
studied
to
the techniques I
some of
rented
a
Film
to
the B-movies
late forties
the
closeups with
trying
director's ability
They were
moviehouses.
over-acting to
Casablanca
movies.
films
or
set a mood.
by dark backgrounds
sets characterized
backgrounds
to
by the
by the dozen during
were churned out
to
defined
greatness was often
movie.
All
The cinematog
out-of-focus
in
an
exit visas and even
freedom.
I tried in my backgrounds to
feeling
of
model
the
Casablanca. The darkened interior
scenes with
of
the
the closet, the
same
gray, misty
spareness of
11
Touvier's office, the
feeling
lighting
used
Bergman looked up
Bergman's face
letting
the
Bogart,
at
feeling
to
the
rest of
face
darkness
door became
scene
D
furniture were
create a
the
3-D
I
in
studied
at an angle
in the
the tree
that
scene
Casablanca, I
low (8%
or
the
defining
sharply
cell.
to
effect without
one side of
it
The light from the transom
The indexed
thousands
in
scan
old
onto
and rocks.
scanned
Photoshop's
and with a
so)
to texture map
by the
When
much more effective.
used
had been left in
fungus
movie.
into darkness. The tear rolling down her
prison scenes.
used was
used
painted
I
very
large,
fungus, bark
scenes.
and window
of
set
the
the ink
brushstroke,
actually looked very
of wood and
going to the trouble
soft
I
get
of colors.
background
images
airbrush.
effect
rocks,
Doors
face. To
I
barn
and
created stuc
sashes,
desks,
bark. The look
modeling the
articles
in
a
3-
program.
I
Strata Studio Pro to
used
probably the
storyline.
a
which
buildings from
gave a slight
the
scenes
spotlight and captured each prisoner's
think than if it
board into files
and
intended to
or spotlight was placed at an angle above
graduate
with
set
Another technique I
the
her face
light streaming into
the
better I
light
a
made
the
the opacity
with
airbrushed
good...
to the
similar
white
coed
courtyard were all
some of
caught
I tried this technique
the
to
similar
that it
so
the
cheek against
above
the
of
of pathos.
I
and
look
medieval
I
most
important
part of
created a model which
fairly stable
yard scenes
image
may
not
of
the
model
area.
have been
I
the
courtyard scenes.
the story
These
and would reappear
could change camera angles
If I had drawn the images in
consistent.
scenes were
throughout
if I had to
Painter,
the
each
and get
court
The Strata document kept the different
12
cuts within
keep
the
different
scene was
in
One
tinue to
and paint
each
ate a
of
relation
of
the
to the
nice
things
previously
about
I
One
the
camera at
Rick's bar
would
know exactly where
viewer would
that I
was able
liked,
to
I
paint programs
painted area
change, I smudged, skewed,
slightly
the
same effect elsewhere.
scenes and
the
as
the
story.
and paper effect
that
the
in focus just
cuts consistent enough so
clone a
brushstroke
many
courtyard scenes
throughout
I
could call
used was
several
could con
backgrounds. If I
it up later in
another
Stone
walls were a prevalent
clone
the images
backlit,
that I
drawing
background in
over and over again.
sharpened or
blurred
got a
With
the image to
cre
altered effect.
of
Casablanca to
the
most enjoyable parts of
come
up
with
the
project was
ideas for backgrounds
and
studying the
lighting
in my
scenes
in
scenes.
13
B. Artists
1
used as
Egon Shiele
.
One
of
inspiration for
the
character
Shiele. He began his
1 91 0
and
result of
ied his
His
development
career around
as a
the Spanish Influenza. I
work and was attracted
immense
his
used as
died young in 1 91 8
self portraits
of
I
artists
Austrian painter, Egon
the
was
Sources:
he drew using
mirror
in his
stud
to the
an
Much
studio.
subject material was women.
self potraits and
drawings
of other men were what
Model
inter
at
Mirror
-
Egon Shiele
ested me.
What
thin,
his
he
used
to
draw his
portraits.
The
sockets.
The limbs
were exaggerated and skeletal.
The
nudes were
peering
overall
look
portraits were grotesque caricatures.
In
the
method
almost emaciated with sunken cheeks and pronounced eyes
from darkened
of
to the
harsh
the angular,
artist was
often
attracted me
one
document I
haunted look in his
ized
youth sexual
able
to
work
anxiety
generations of
read on
the World Wide
brought Shiele
and uncertainty.
troubled
to
Web,
the
prominence.
writer suggested
His
that
paintings universal
His drawings have been easily identifi
youth.
14
Unlike
have
who
nection, I
viewed
more
in the
humanity
the
the
artist's style.
bodies in
the
My
I filled
sketched
from
it
was
lost
to
portraits attracted me
directly from
the
was
library. To
was easier
than
use
to
the
several newsprint pads with sketches of
the
was
me
to
books I bor
to the
relate
draw
directly on
stylus with
the
hands, faces
and
Egon Shiele.
style of
idea
his drawings
haunting
paper rather
computer screen.
men and children
drew from. Whatever Shiele
to say in
drawings,
was a
large, liquid
in the
the many women,
but
rowed
closet
the inner
identity with
deal
of
1 91 8
a con
great
I
condemned prisoners
felt
in the drawings. There
trying
the
easily
work and
evident
that Shiele
of
his
since
fears
eyes of
One
the unhappy teens
all
to
the
associate
artist's method
into my
own stylized
technique
of cartooning.
Shiele
He had
a
painted
boyish face
himself repeatedly in his
with
the early Bob Dylan. He
and accentuated
thick
was
the already
hair
thin
that
with
studio
stood out
dark
exaggerated
using the
full-length
mirror.
raggedly from his forehead like
eyes and
thin
lips. I drew him
features he himself loved
to
often
draw.
15
I drew the
of
the
with
bigger
eyes
students on campus and
the characters I
character of
who
had
To
cell.
he
the
was
drawing
the
contemporary hair
styles
style
in
closet
most sensitive of
when
death, he
the
he had
sang the
tells
the
his death.
eve of
of a prisoner's
His singing
of
the
or popular singer and
show
the
aria
the
most personable of
to
sus
aria
is
aria
most popular of all male opera
arias and
chance
more
hair
evolved
from Tosca, E Lucevan Le Stella. The
the
the
the
without a name
death,
his pending
one of
work
studied
group.
Prior to his
pected
slightly fuller. I
mouth
tried to
Goudard in the
spoken with
me
doomed
the Jew
the
developing.
was
All this preliminary
the
and
love
of
had
made
world
his
on
Paul Touvier
him
I imagined him
captives.
like Schiele
life
who
as perhaps an
had died very
young,
talent. With these ideas
had
aspiring
never
in mind, the
actor
had
singer
a
became
Schiele.
Touvier's
found
several
heads
were
similar
been
to
character originated
drawings
distorted in
a child
pressed
into
pulling
of
a
friends
a comic
"Silly-
strip
the
pages of
and associates
way that
on
from
made
the
he had drawn. In
face
Putty". The face
and
then
pulled
Schiele's illustrations. I
to
seem
like it had been
resembled
make
some, the
the
the putty
face
stretched
after
it
had
seem contorted.
16
There
were several photos of
cover portrait
as
the
for
model
Macon.)
had been
He had
appeared
to
was a
in
Touvier
character
constantly
he
when
was a
he is
which
having
blond hair
man
totally
wrapped
of
his personality
referring to Shiele's
finally evolved
sleepy eyed, blond
and appeared
to
used
picture
taken
and
portraits
from
might
the
to
be
the
cover picture
after
moving to
eyes
own self-importance.
I tried to
have
come
bored
consumed with
sketches on
up
painted or
newsprint and
with a perpetual
me
the
his impassive
up in his
but
article
I drew preliminary
as
imagine how Shiele
and
that
his
curled
idea
(I
man.
young
tightly
young
Again,
long-faced,
smoked
a
get an
newsprint pads.
own portrait of
scene
short and
define
I tried to
The
the
taken
Touvier in the New York Times
with
drawn him.
into the
computer
He
expression.
his
my
position as
chief-
of-police.
I
used other sources
for inspiration. I found
and sometimes would pick out a
kept Shiele's
from
work
the many
in the
back
of
face in
my
photos
from
the 30's
and
a crowd of people and work with
mind as
I drew. Each
drawings I had done from Shiele's
character was
40's
it. But I
inspired
own portraits.
2. Vincent Van Gogh
I began my
had
no
idea
where or
in cartooning
was
too
character
at
RIT
how
during
much a realist and
development in
to
start
my first
my
the
character
Spring
1 995. At that
development. I had
year of classes and
had very little
of
enthusiasm
taken
hadn't done very
for creating
point
I
a class
well.
I
cliche'd cartoon
characters.
17
Skyline
-
Vincent Van Gogh
The instructor
each other.
up
on
my
often
My drawings
had
always were
I thought it
would
Van Gogh has
found books
sketches
on
in
ants
he had
his
worked.
He
at
face
the
his
develop
be best
always
artwork at
made of
to
been
the
Dutch
us all
studied.
most
team up
and pose
for
I lacked the ability to lighten
important features
popular
library
the
over scythes and shovels
different
tasks
own style was
my
start with an artist
in my
and
He
began
used
spinning,
in fields
and
to
I had
and
then
charcoal,
men
from
from
liked.
I began
with
him. I
the early
pencil and conte
he drew
weaving
walking
drawing
always
drawing
them
and
while
hands in
He
fists,
cray
they
carving,
on roadsides.
and covered pages with sketches of
gripping handles.
begin
family and
countryside and
captured on paper women
outstretched and
too
to its
peasants.
studies of peasants and
bent
hands
on
far
had
features.
those
The best way I knew to
others.
students model or
artwork and abstract
exaggerate
Background in Goudard Storyline
peas
studied
pointing,
He
various poses.
caputre
defined
without
styles of
I
from
his
time.
to
of
sketch
use
his
style
was
away
brought home
his drawings
in
Van Gogh's
throughout
fall. If I
the computer, I
book
the Dutch
of
as excercises
summer and
to
wanted
resorting to the
continued
drawings
the
Van Gogh
the earthiness
Peasants
face in
sketched a model's
and
began
a
to
using my
newsprint pads.
Peasant
The
scene at
the Goudard
was
taken
the
beginning
storyline of
from
sketches
courtyard scene was
the
railroad against
done
by Van
from
taken
of
Gogh
tilling
soil
-
Vincent Van Gogh
the sky
and
the
he had done
studies
of a similar courtyard.
Van Gogh's
began
to
use
style was
Egon Shiele for
my staging
character
Eugene Atget for my background
often
to Bill Mauldin
animations.
while
Combined
on
raking
development,
the
pencil
test
these artists, I included
Van Gogh's drawings to learn how he
harvesting,
I
style and referred
working
with
ground.
captured
The Jailer
sweeping
simple movements
like
sweeping,
and other menial chores.
19
I identified closely
with
styles and methods popular
ily
almost
saw
in
based
drawing
much of
on
characters with
day and
the
created
student artwork at
formula. Overmuscled
their
classes,
large doll-like
I
and
own unique style even
3.
his
little for
cared
his
traditional
that is
own unique style
eas
today.
recognizable
I
in
Van Gogh because he
saw
if it
the
and
eyes and
RIT,
to copy
leggy superheros
tiny
and
that
styles
Japanese
too
often.
I
wanted
to
were
anime
in the
mouths were everywhere
style copied much
wasn't
attempts
develop
my
trendy.
Bill Mauldin
One
ences
of
the
to my
more
important influ
the
artwork was
toonist, Bill Mauldin. He
the
created
loveable dogfaces "Willie
who appeared
car
Joe"
and
in the army
news
during
paper, STARS & STRIPES
the
Second World War. The two foot
soldiers slogged
weekly through the
muddy European front's
bombed
foxholes,
out villages and smashed
roadways.
"Ya
wouldn't get so
stuff.
Throw
th'
tired if
didn't carry
yer decka
ya
extra
Mauldin's two
joker
outta
fied
He
often portrayed
who were
characters exempli
cards."
horrified
the two
by the
dogfaces meeting up
Americans'
haggard,
the
with
humanity of men
bewildered French
unshaven appearance.
at war.
peasants
Very
often
20
Mauldin
contrasted
between
the
drove
the
past
showering them in
Mauldin's
always
showed
arrogant offi
the
a
spray
me
soul and
anyone caught
enlisted men
cartoons
fascinated
the
difference
down-to-earth
more
enlisted man and
cers who
the
up in
of mud.
had
because they
humanity of
an
uncontrollable war governed
forces far beyond
Willie
and
Joe
their
and
ugly
by
control.
exemplified
the
Both
"Let B
good
Comp'ny
go
in.
They
ain't
been kissed
yet."
that
we
hope
resides
in
us all when we
encounter a situation out-of-control.
Americans
embodied
in times
They were what we wanted
of crisis.
Willie
and
Joe drank
to
believe
stolen
wine,
roll-your-owns,
a
farmer's
cow
neither soldier
shower
But
in
walks
back
to the
prisoners
gunned
down
for food
and
had
seen a
weeks.
they
were gentlemen
and
treated the French
and
frightened
respect and a
The Jailer
smoked
girls
orphans with
bar
of chocolate.
They wouldn't dream
of
vent-
21
ing
their
Sgt.
cent civilians as
do 30
the
of
do
ed
to
the
that
in
and as
ters in many
style.
his
to
Fayolle
bringing
food
to
prisoner
I drew them, I
heavy inking
of
the jackets
Touvier's
arrogant
guards were all
and
baggy trousers worn by the
debonair,
inspired
the jailer's
rumpled
by Mauldin's various
charac
cartoons.
using both
brushes
The
was able
the Milice
practiced
customized
ing
of
human
heavy beard,
appearance and
want
rumpled and
Mauldin's
Gl's. Goudard's
I
for
his drawings.
jailer had
dirty clothes
often noted
of
have nothing
the
Mauldin
capture so well
My
eels
American Gl's, I
capture some of
character
front
in
different
characters
the
with
to
animated scenes.
Although my
to
cartoons
drew
I
me while
Calley was
later in Vietnam.
years
I had the
many
inno
war scarred anger on
which
paper
pencil and pen
I thought
texture I
& ink brushes in Painter
came close
used was a
to capturing
rough, grainy
some of
and created
Mauldin's ink
paper with a
hard
surface
method.
Painter
but
was
was
invaluable in allowing the
especially helpful in coming
close
range of styles
to Mauldin's
I
was
drawing
own method.
After
from
some
22
experimenting, the cartooning
style which was
heavily
The faces
Touvier,
Painter using the
influenced
Goudard,
customized
Mauldin-heavy, Shiele-hard,
I felt very
in
an attempt
4.
to
like
often
come
up
by Mauldin
the guard,
brushes I
and
I
soon
and
the jailer. The
named
own
Schiele.
and
library of faces
a
developed my
I had
bodies
stored
for
were created
in
Mauldin-lite, Mauldin-medium,
Shiele-lite.
a professional cook
picking
apart a well-known recipe
with a unique entree.
Eugene Atget
In my decision to
used
much easier and
usually drawn from
were
the singer,
became
for my
One
use grayscale
artwork were photos
the
main
who
had
of
Eugene Atget
Detail from Paris
from
only
for my
scenes,
the early 20th century
inspirations for my backgrounds
worked
Street,
from
the
late 1 800's
until
Outside the
the
one of
on
were
the
police
I
up to the 40's.
the
mid
sources
photos of
20's. He
headquarters
Eugene Atget
23
Detail from
photographed
to
a
Photo
Paris
by
and
Eugene Atget
the surrounding
The jailer
countryside with
photography's acceptance as an established art
that
existed
from
roaring twenties
the time
when
of
bringing
the
Hemingway and
the
lost
to
prisoners
eye of an artist prior
form. He documented
through Van Gogh's stay in
Hugo,
food
Aries
on
generation wrote about
the France
up to the
Paris
night
life.
Atget
photographed
same gnarled cypruses
photographed
the
stocky
peasants
that Van Gogh
open sewers and
had
back
in front
of
their
painted and
alleys of
Paris
ancient
later
made
homes
and
the
famous. He
where small children
24
peered out at
the
photographer
vaguely
reminiscent of a scene
from Les
Miserables.
I
flipped
for many
tions
through
of
books
Atget's photography
and used
backgrounds. Church doors, hallways,
my
walls, country roads, city
methodically
on
streets and stairways were all
them
as
alters and
inspira
spires,
stone
derived from Atget's
photographed portraits.
5. BRASSAI
For the faces in my
tographs
ofParis nightlife made
night scenes of
I
using
and
cast of
the city
attempted
Photoshop
I tried to
tographed
on
Brassai
some of
Painter. Most
create some of
lovers
by
suffused with
to apply
and
characters, I
the
the
streets
during
lights from
the
of
lighting
my
lamps
effects
take
Brassai
in the evening
hunted
the 1 920's. He
street
scenes
atmosphere
Detail from Goudard's Storyline
sometimes
he
and
through
pho
photographed
lit
windows.
created on camera
place
in darkened
created when
or prostitutes
he
by
rooms
pho
waiting for tricks.
Detail from
"Lovers"
by
Brassai
25
His
I
portraits set a mood and seemed
used some of
my
his
portraits as
to
capture
the
spirit of
inspirations for the backgrounds
the
moment and
and scene
setting in
animations.
6. THE MAGNUM AGENCY
Photo
-
Another
the premiere
ment
to
Robert
Detail from Touvier's Storyline
Robert Capa
source were
groups
to
print media.
the
popularize
The French
Capa, David Seymour
much of
the
movements
my guards,
founders
pre-war
labor
in France
and
prisoners and
I
the
the
post-war
famous
Henri Cartier-Bresson.
these
old men
"Magnum
use of photojournalism as a
cooperative was made
and
used
the
of
as sources
that
for
recounted
Agency"
one of
necessary
ele
by the works of
They had documented
developing the characters of
the story
at
the
beginning
of
each storyline.
26
Capa
political
and
and
Seymour
captured
fiery
images
of
figures like Aldous Huxley, Alexis Tolstoi
the American Communist
Many of these
faces
same
leader,
were worked
faces
toute
mmi
Michael Gold.
chose
of
group
into the
doomed
the
of
Jews in the
closet.
tes
nr
8
Mfis Franpt
ft la
,:
I
found
pbrte
at communist
les Juifs
Detail from Photo
by
.qui
Robert Capa
labor
rallies,
salaut
les
figures
used other
parades and streets
exploiter!
les
scenes where work
TravaiiJeu
ers raised
Detail
of
Poster
in
by
David Seymour
a
their
solidarity
salute.
Many
still scenes
were made
from
faces in
crowds.
the
drawings,
woman,
line
a
I'd
drawing
from
For
one
drawings
figure in
use a sweater or
face from
of
the
lips
the
created
different
one of
dress from
another and
I
of
my
one
and
hair
of another woman.
I found that I
Composited
composited
fists
from
the
could get expression and
photographs.
feeling
Once I had the figure
on
Touvier Storyline
27
paper, I
the
face
to its
important
most
The RIT
Library
I
photographers.
body
the
could work out
came
range consisted of
later
photos
7.
that
capture
Atget's
Internet
media
the early
but
I
library and
Internet became
I
used
was
-
-
-
-
-
-
-
rows of
books
of
and
and
photos was
the
books
era of
Summer
the
the 30's
on
photography
drew from them,
of
and
filling
and
up
1 995.
essence of
romantic period
these
out
during
library was a
for
the
the
in French
scene.
The
history and
the
40's.
most of
development,
for books
quick response
the time I
routine of
project's
great source
Sheile, Eugene Atget
daily
almost a
tool
invaluable for its
Egon
on
the internet
-
the
a useful
The
stages.
books
kept
simplify
usage
the Internet
pulled
from
the turbulent
caught
its
useful with
portraits of
The Internet became
ly during
in
during the Spring
several newsprint notebooks
would
elements.
brought home dozens
What I tried to
using POSER. Then I
movements
to
worked on
the
searching for ideas
and printed
questions
and other artists
I had.
from
project.
and
especial
the
But the
tips.
for:
researching historical
aspects of
the story
ideas for backgrounds
advice on software
Quicktime
sound
and animation problems
bytes
pictures of pistols and guns
pictures
tips
on
by various
different
artists
software
I
was
using
techniques
28
In many ways, the Internet became
my first
Internet is the
the
information
wealth of
you can get
in
The
reference.
a
short
very
beauty of the
from
time
all over
world.
As
which came
area
few
example, I
an
directly to
because
of
with
platform
Painter
users
I
project.
and asked
listserv for Director
a
mail address.
volume of mail
for my
would always get
from
my
to
I had to
I got, but it
requesting information
messages
tation
the
subscribed
both Director
on
asked about
why my copy
address
the trouble. I
wrote a
and
out
Authorware
or
lip-syncing,
somewhere.
France, Germany, Switzerland
in
the
as a presen
questions on
Poser kept crashing
of
something back from
keep cleaning
was worth
Direct-L
users called
after a
few
Oftentimes I had
Australia in
cartooning
renders.
I
responses
a matter of a
few
hours.
A Director
batch
process some of
MacWorld
in
user
the tasks I
and asked users
how they liked it
groups
I
advantages.
because
I
the
library
used
to my
I had
the
Vichy
search on
had
to
on
a
few
I found
request
pictures of
find
pictures
graphics on
by
and
I had
no
found
idea
about
Poser in
the Internet
news
advantages and
Milice
dis
uniforms
them.
handguns,
Egon Schiele
drawing
my
a scene where an assassin shoots a radio
firearms
on of
information
to
Debabalizer to
do in Photoshop. I heard
use as references while
government.
get
its
had only
to
to
and received several responses on
the World Wide Web to
wall
advised me
in Comp. Mac. Sys. Graphics,
used alt.culture.france
cars and steam engines.
pasted
Melbourne, Australia
what a gun
which
I
rifles,
period
printed out and
models.
personality
looked like. I did
several pictures of pistols used
who works
an
during
for
Internet
the
30's
and
29
40's. I
downloaded
weapon.
Rifles
found
the Web.
on
used
The Web
ing. I found the
the
by the guards
also provided
now
famous
been filmed revolving in
and used
rect
the
location
I
of ears
found
Probably
not
during
my
I
important
photography books
teachers
at
I
could use
drawing
rich without
the Internet.
My hope
throughout the
here
for referencing
as
help
through
is the Internet
As
difficult
the
cor
the
reference
to
for
work were attributed
But I don't think the
me on
the
movies and
helped
I
me almost
own.
of
thesis
to
research.
conversations
Technology,
and
the
wealth of
family and
project would
going
have been
as
net a great service and people
e-mail.
will continue as an uncensored
much as
stream-of-conciousness
the only
my
Rochester Institute
resources available
world.
probably the last
at
which
library, feedback from friends
library at home.
own
willing to
head had
profile shots
in editing the Quicktime
soundbytes of
pieces of
the RIT
through my
I found the
were also
eyes and mouth.
advocating the Internet
and
trucks
stumble on while surf
found
often
assassin's
the Web. The
on
cadaver,
sometimes
several soundbytes
most
Professors
chaos,
"Fred"
scanned
a shareware product called
the
are always
ideas that I just happened to
SoundEdit 1 6 in creating
as much as
I'm
to
and vintage automobiles and
one complete revolution.
Fred
for my
as models
"SoundEffects"
downloaded
with
movie of
them
pictures and used
the
thought
net can sometimes seem
processes and absolute
place where people can
openly
share
forum
like
of people
a
study in
baloney,
information
and
it is
still
topics
without restriction.
30
C. Software
1
.
and
Poser 1
Techniques
.0
Rendered image from Poser
I heard
browsing
which
through
a
copy
during
of
tween the
the
the
MacUser
point
I had it in
animations
process and
I
beginning
mind
using
wanted
a
of
the
summer
1 995. I
storyline
was
magazine and came upon a review of
price was under
few limitations, it would be
At that
begun
a
Poser
had just debuted. The
despite
and
about
Detail from Jailer's
a great
that I
help
was
lightboard
to stay
$100
and
for
the
review suggested
that
computer animation.
going to have
models pose
and pegged paper.
more with
Poser
traditional 2-D
for
me
I had already
animation since
31
I'd
what
which
included Chuck
in the
saw created
to
or
three
give
it
days working
the image. The
tweaking
I
the
continued
A live
or
to
model
But there
finding
reserve an
hour
each scene.
one up.
ple
to
into
the software, I
a
maneuver
just took
desired
friends
The
out
little
a
the
the
devoid
and
learning
in
spent a
of energy.
how
to
few hours
time in
into
times
That
when
meant
time to
of
in the
they
of
it. I decid
the
next
two
then
and
in
comfortable
pose.
series of movements
I had
taking
draw
the
in the
scan
no models.
time to
find
I
discontinued using
I
to
a
wanted seemed
worked at
people
movements on a
twenty
or
summer
were
is
busy and
doing
and go
it
home
willing to
lightboard
live
far
and
pose
and
thirty drawn figures
superi
there
for
then
was
for
needed
increasingly hard
through the 30 to 40
to
me
finally
I didn't have the time to
process required a rigid outine and
whatever
use
a pose
becoming
and relatives as models and
the
I
use and requires almost no
mannequins
little
computer animation
mannequins.
the time to
Everybody
to stop
lifeless
seemed
saw possibilities
to
process
acting
were
was no one around.
then
I
RIT
Disney,
mannequin seemed so stiff and unnatural compared
to Poser's clumsy
and
at
Walt
it. Poser is very easy to
how
use
Avery and
received
with
mannequin
Poser. The little
model.
me and
learning
start-up time in
render
labs
try. When I
a
Tex
Jones,
student
Poser intrigued
ed
had been disappointing. After my upbringing
seen of computer animation
set
get peo
minutes needed
plan and pose a scene.
I began tentatively to
jailer
ing
scene where
action was
the
taken
use
character
from
a
Poser to
is
front
seen
view.
do
some simple scenes.
sweeping
I
moved
a
the
My first was
the
darkened hallway. The sweep
arms around
following
some
32
sketches
I had
ing. The
scene came out
from
there I
made of
began
to
As I became
software, I
make
the
trying
mistake of
to
the
let
the
mannequin
The idea
the
results were
the jailer is
bucket
was
to
body movements.
too
staccato.
seen
to the
Goudard
the
door
result of
changed more
in
entire
But the
scene where
carrying food
closet cell
was
The
and a
slop
feed
to
Still
using Poser for
entire movement cycle.
be
more often.
on
pose all
to
Poser
use
and
Poser carry through
scene.
the
fairly well
sweep
more at ease with
the
made
mother
my
line
The
process
with
the
shot
using background from
Painter
had
Disney
method of
in-betweening from key
frames.
My
and
method now
complexity
"clone", "select
of
the
scene.
on
top
do
three to
of
Poser document to
it. I
and
the Poser
would save
replace
six
key frames... depending
key frames
The
"delete"
all",
sheet of onion-skin over
features
is to
are opened
in Painter
on
and
trace method, I
was able
document
begin sketching my
the
the 3-D
cloned
and
document
model with
the
to in effect,
with
the
pencil sketch
the
length
using the
place a
character's
same name as
I had
created
the
in
Painter.
The
key frames would
body movement.
The
be
tweened in
smoothness was
Photoshop
probably less
until
I had
accurate and
a
fairly smooth
less
graceful
than
33
I
one
have
could
achieved
the
sle was worth
effort
to
hands
in the
picture.
where
the
is up
The limbs
close
and
problem
od of several poses.
and
twists. There
and
begins
shots of
to
walk
of
the
would
clear
has
and
telling, I
the
and arrange
and
the
done
were
area of perspective.
In
big. I
too
priest
with
order
figure
the
sometimes
story-
would
man
shaking
Poser.
to
get a shot
seemed out of
often
had
to
inconsistencies.
begin
to clip
the jailer
camera
and
tear
first faces
towards the
up the tearing that
the
the
after
frequent bends
camera and
stairs.
was
model over a peri
I had to
then turns
adjust
the
occurring throughout the
body.
But despite
time. The
for
up the
the Nazi
sometimes appeared
away from the
times to
speed
often occurred was overuse of
The figure
in time
savings
Touvier's father
to the character,
hands
that
the
Poser.
to
with
in the
was a scene where
mannequin several
used
the
body parts to adjust for perspective
Another
me
of
some weaknesses
camera
proportion.
shrink
Several
but
then import it into Poser
Touvier himself shaking hands
and
Poser has
trunk
stills as a method
with a sketched scene and
nequin
model,
get comfortable with
When I began using
begin
human
a
using
some
problems, Poser
software was one of
the
more
more
than
made
inexpensive
up for them
and most
by saving
helpful
products
this thesis.
34
2.
I
Painter 3.0.1
used
Painter because
simulate almost
to
choose
brush
from
varied
be
these too
and
managed
and can
my
be
in
used
also offers
layer
and
were
then
them in
again
the
in Painter
over
original
texture.
called
up
Painter
variety
of paint effects
customized
but Painter
methods which can
The
to
and saved as a
saved
brushes
when needed.
I
saves selections as
document, delete
user
with
to trace
be
can
can also
floaters
over
over
clone
them,
which would
bring
in
these
and
then turn
document. I
Painter,
this
used
the Mauldin's
or
Shiele's
select
them, delete
the
a ghosted view of
documents using
characters maintained some
to
the
it
Painter.
several customized
style.
Because the
similarity among
all
the
I had to do.
bodies using Painter
Photoshop
quickly trace
would match
trace
the
brush
of
"Trace"
on
key framing
were again opened
and
my Poser documents in
would create all
open
be
be
be developed
can
endlessly
which can
clone one
the
working
which approximated
and
can
necessary
was
would
that
when needed.
customized, my
in-betweening
I
brushes
the ability to
then turn
document. I
brushes
brushes
brushes
of
modified almost
that
which allows
time I
would open
document
pencil
array
spread and paper
libraries
repeatedly
facility almost each
original
be
several
size,
separate
on an onion skin
the
vast
paintbox contains a monster
can
paint colors when
Painter
I
its
extensive, nearly inexhaustible supply
by depth, opacity,
register
The
PhotoShop has
type.
contains an
effect.
any
of
create
to
the
establish
key frames
the in-betweens. These tweened
and were
them using the
cloned,
selected and
customized
key-frames I had
created
brushes
documents
deleted. Then I
so
that the
and
would
effects
in Poser.
35
After the bodies had been assembled, I
establishing
the
face
select and
move,
would use
the
some
complex oil
ting
and
to
brushes
his hands. I
he had
having
a
him
But for
a
similarity in
sketches and
I
filters
al
used
to
opened
effects.
to
allow
by
twenty
face
to
face
I
distort,
shots.
and
simply
rotate,
I
a series of eels.
nose and mouth as well as
hair
changed position.
using different brushes
like
create a more abstracted changes
bench. I had
so
the
used
through
change
the eyes,
selected a
the
man
brush for
he
was
drop
all
the
his
such as
relatively easy to
He
morph
wore a
from
a
more
fellow
the Jewish
newspaper and stand
movements.
the
up
dark
sitting
sit
and
overcoat
position
stand with arms raised.
characters
like Touvier, Paul Goudard
tried to
keep their basic forms
Painter's
lighting
and
faces
effects and some of
moody backgrounds. I
wood
then Posterized
pictures were re-worked
the time consuming task
its
the
textures
of
paper
to
textures
achieve
pencil
and
built-in
stock photos on sever
Poser to
and stucco.
work
These
by using
backgrounds using
sketching
the
to
simple.
and
and abstracted
into my
jailer, I had
stayed with
sometimes resorted
from Kai's Power Tools, Painter
and
and
For this purpose, I
character and attitude.
in Painter
eliminate
the
change
This included grass, rocks,
The
10 to
experimented with
used an oil
received
grounds.
face
full beard
create
CD's I
to
to
to subtly
the
cases, I
on a roadside
raise
face
the
be easily in-betweened, but in
could
scanning process, I
and
a series of
and scale
and ears while
In
drawing
through
brushes
faces
animation, the
eel
choosing to bypass the
line,
on
one or several views.
In traditional
morphed
begin working
would
into my back
could
some of
be
Painter's
the cloning
brushes
rocks and wood.
36
I liked using Painter for its
Why bother with
pastel chalk and watercolor.
Painter
can create such a vast
be brought into
can
PhotoShop
set
up for
Painter
types.
the
3.0.5
work on
my
animation.
utilizes
Resizing
software
of stylized
oil
paints,
eel animation when
drawings. With Painter,
animation
inking.
eel
was
invaluable for its layers feature. I
picts prior
The
to
importing
preparation
to Indexed
filtering
Director
colors which
the
some of
the
"image",
them into Director
where
usually included converting RGB
seems
I had to
picts was another adjustment
for
Photoshop for
used
backgrounds
"adjust"
feature
to
favor
make
and
they
values
over other
were
that
file
using Photoshop. I
used
occasionally adjusting the
which
brightened
or
darkened
image.
With
then
send
layers,
I
would composite some of
the indexed
In the Touvier
round-up.
The
movement, I
into
cut
Photoshop
copied
in
as a
picts
to Director
story-line
action was all
Although it's
nal
traditional
dimension beyond
a whole new
darkness level using
an
array
like
natural medias
3.0.5
Photoshop
basic prep
similarity to
close
easier
time
and
layer
to
I have
where
an old
more abstracted animations and
would set
Jewish
up the
use
the
old eel animation
the
first
pict
against a pre-painted
and set against
the
layer I had imported from Painter
scenes.
man arrested
derived from using Painter's
by simply painting
setting it
I
the
oil
during
brushes.
techniques to
in Painter
and
achieve a
then
background. The
very slightly
changed
the
fluid
bringing
it
old man was
background. Next, I duplicated
and
a street
the
origi
position of
the
37
inLvrvuLliun-uJLl <.iiiuii2, RGB, 1:2
figure
'3?
the
by selecting
character and
slightly altering its
movements
skew and scale
tools.
I
scene
and
forth
by
switching the layers
*>
Ifcktaf
iifM^ns-i
Background to
arrest scene
on and off
from Touvier's Storyline
idea
rough
the
IjiiQuQI*
::Pv:
Layers
play the
could
back
jaiPrrWHL-ml
use of
distort,
the rotate,
i!
by
animation would
\
After I had
to
get a
how
of
play back.
"tweeked"
figure
the
using the altering tools in the
effects
0 Preserve Transparency
toolbox, I
used
the
doner
tool to
man2
"mend"
'#
the
breaks in
"scrubbing"
over
m
I
:
:
the
of
layering
scene above.
ground
is
process
Only
the
for
shot,
the
breaks
with
the
clothing,
amount of
several
visible.
irregularities.
I learned that I had
using the doner
and
the
If the figure
an endless
effects
with painted pieces of
skin and
background. After
back
easy.
large
by
scene
Background
cloning tool
Detail
the
manl
of
"fudge
simulate
this technique
The dark
was viewed
degree
tools to
tries,
the
clothes
from
a
became
helped
to
long-range
factoring"
movement of
at
hide
camera
my disposal
the
a
old man
by
read-
38
ing his
paper,
ing
dropping
up,
look
the newspaper,
ting up
and
his hands
get
raising
his
over
head.
This tech
nique was used
I
more often once
had
the technique
Same
down. The
blowing
over
the
in creating
cise
hand
in Painter
m
and
the
character
into the
has
sign
the
victim and
blow
to
then
hand. All I had
over
the
do
.&-
%f
fore
man2
j^ manl
i
tmm Background
JL
was
Layers for
pict,
ture
the
the
original sign
select
available
and
clone
became
and
then
a
two
visible
fea
different
I simply
began
same scene with
layers
choreographthe movement of
was accomplished
Photoshop
clone
trace'
'set
in Painter to
body. Each
Once that
in
delete
all,
using the
2J
? Preserve Transparency
float beneath
to
100S5
^~"| Opacity
Normal
The
opened
draw
visible
Layers \
background using Photoshop's layers.
the
layers
m
was another exer
a character
later compositing
arm of
two
scene as above with
sign
movement as
opened
layering
the
the
the torn
it travelled
pict of
the
sign
drifting
across
arm as
the
numbered sign picts over
the
over
hand.
background
the
arm.
39
When the
drifted beneath
sign
original
background hand
the
layer. I
new
hand layer
next
the
of
I favored Photoshop's
dramatic
more
These
the
to
as
it
Director
best
with
time. I
scene
with
These
which
later
only
top
of
the
layer
Painter's The
over
and
to
the
feature in its
closing
the Jailer
open and close
layers
to copy
the
hand into
the
the
stack so
effects were a
uses
The
I
Photoshop
used
thousands
folders. In
to indexed
some
new
little
Often this helped
when
tioner is ordering
his
the
closet
door with Goudard.
points.
wanted
to
fire
on
men
to
would use
the
imported into
fairly accurate door slam.
to indexed
I had to
the
picts
colors.
convert
the
that I
Director
works
30 to 50
folders
created
of picts
picts at a
for
each
picts.
me was
could change
I
I
perspective shots of
convert
process
which
the Jailer
case with
from different
help
to
of colors
to Photoshop's indexed
tool, I
the
toolbox
cases, Debabelizer's indexed interpretations
Another feature that helped
the cropping
at
cast members created a
Debabelizer's ability to batch
used
effects
as was
different
colors above all other modes and
seemed superior
for
to the
and copied
shots were copied as separate picts and
a smaller scale
256
filter
lighting
door
as cast members.
in Painter
layer
layer
hand from
the
layers.
sign
doors opening
the
feature
closed.
On
new
were several scenes with
scenes needed
perspective
door
the
also offered a perspective
animate
There
storyline.
selected out
than Painter.
Photoshop
allowed me
I simply
and created a separate
dragged
front
in
sat
hand,
the
the cropping tool. In the
the cropping
get a
detail
algorithm
of a
to crop
dialogue box
at a
background. When
the prisoners, the
background is
a
fixed
the
size.
execu
detail from
40
Original background
the
background
up in front
I
from
used
he
of
in the
previous scene where
stone wall and about
cropped a section of
the
detail
original pict.
I
of
the
P
the
was set
to 640
x
480
which
Cropping
Tool Options
Target Size
"\
I
the
used
(
:
640
pixels
Height
:
480
pixels
?
72
pixels
/inch
?
an
opacity
of about
/
|
6
|
?
|
J
to
1 2%
\
]
trees.
airbrush set
T
$
image
stone wall and
the
1
^
Front Image
Width
Resolution:
of
1
1
a
iSr
the KPT
softened
1
1
\ ?
hanging vegetation
2.1 Sharpen filters to
darken
1
shot.
::
0 Fixed
mask and
I lined
Hi!
sharpened
background using
unsharp
prisoners
the
.
the
be
stone wall and
The cropping tool
original pict.
gave me a
the
the
the
Cropping
tool
with
fixed
target
specifications
to
soften
the
hue
some-
41
what and
then
indexed the
and used
it
pict
as
the
background
for
the
execution
scene.
is
Photoshop
the
one of
The
background
same
resulting in
cropped
using
detail
the
an exploded
of
fixed
a
target
est,
original stone wall.
and proba
bly the
useful
tools that I
helped
me
eliminate
to
align
the
this
was
once
was one piece of software
Photoshop. With its
in
layering
pages of penciled sketches and
with
Photoshop
Director primarily for its
tweening
pegged paper and
I
used
Photoshop
paper
on
textures
its
the
hours
Painter
on
that
helped
then
me
to
having
3.0.5
animation capabilities
most affordable animation program available.
method of
capability, it
most
they were digitized.
Tweening
used
If there
project.
drudgery of scanning
them
3. a
I
the most, it
the
for
used
easi
size
own
and
computer rather
I
came
up
than resorting to
because Director
with a
pretty
lightboards,
was
good
stacks of
of endless scanning.
Photoshop
if I'd
preferred.
which afforded richer
although
I
could
just
as
easily have
I loved Painter's variety
images. I
created
of
brushes
key frames
for
the
used
and
move-
42
I
ments
wanted
program. (I used
to
the
get
and
then
a paint
using
Dl
Fractal's Poser
correct movements
drew
character over
the
i
*#
M
cartoon
the Poser
mod
^.^
els
by
using Painter's clone,
delete
select-all,
I
capability.
lined
in
Photoshop
the
test
if A
have
^
over
the
and out
Am
i
cartoon character
there. This is
cil
layer
I
and
grayscale
a real
basic
worked
during
the
pen
in
*'
y-\,
&-
199K/464K
entire
Two layers
visible
process.
Once I had
key frames.
copied
I
all
opened
it to the
my key-frames
the
only layer
first
two
clipboard and
then turned the visibility
the
I
used
paste-layered
second
layer
it into the
that the
so
to in-between the
Photoshop
key-frames. I first "selected
then
off on
completed
for in-betweening
all"
on
second
the
first
frame
and
layer. I
or
background layer is
the
visible.
With the
selected
-oftl.^S--
v
trace
and
could also
created a new
model
[3
(walk1-iialk2(tujeen
walk2
magic
that section,
pick
up the
and
filled
wand, I
'similar'
chose
entire grayscale
the
selected
cartoon with
from
image. I
that
the
darkest
the
the
cartoon and
selection pull-down menu.
changed
color and
area of
the
foreground
finally deselected
color
to
This
then
would
bright
red
it.
43
Next I
Layers\^
Normal
?!
u^c^
1 00SS
:
had
H Preserve Transparency
I
*l
malkl
to
-ujaik2Uiueen-
mid)
copied
in
on
on
cartoon
the
turned
visible and
visibility
the
set
the
first layer
off
5.
the
|
to the
this time I
opened and
ready for in-betweening.
background layer
layer (the blue
toons
were
one)
then
black,
tions
for
created a
finished,
tinually
cartoon
bright blue.
with
both layers
next
turned the visibility
were now visible and with
down
turned its opacity
to
about
63%.
new,
second
brush
layer,
and went
to
changed
work
the
the
first
...Both
foreground
tweening between
I usually highlighted the tweened layer (2nd
from
cop/'
a
the tweened
The task
layering
the
car
color
the
to
back
first layer.
When
"save
filled
but
easily distinguishable.
selected a customized
ground and
chose
highlighted,
visible and
After this, I
that
so
second cartoon
layer
visible with new
I
in the
treat
same magic wand
ment
Background
Key frame layers
in
repeated
walkl
5;
on
the
red cartoon
(background layer). I
5;
I
them
was
the
picts.
pull-down menu.
After that, I simply
laborious. I had
against other
tweens
file
between
mountains of paper
tweened
key frames.
documents
process saved me a great
deal
of
to
I had my
reverted
keep opening
documents just
But I had the
and
the
own
naming
traditional
all
conven
documents
advantage of not
registering them
and
layered document.
the tweened
as a
layer)
in the
and
animator con
having
computer.
to
scan
The
time.
44
4. Debabelizer
I
each of
had
the
no
er
would
originals.
in Australia
am most grateful
to
is simply
times, I
I
and
and
for
how
they had been imported
used
the
software
setting up
who e-mailed me
him. Debabelizer was
for
batch
up
set
up
a new
a
fold
satisfactorily into
but
tasks
cross platform appli
suggestion
time
canine.
set
Whoever that
a custom palette.
a great
to
to
simple
help with
the
two
the interface itself is
index them. I usually
and
about
a reference guide
finally learned
of applications which can
cations, storyboarding, morphing
I
manual
pull-down menus and
picts and once
Debabelizer has dozens
1 995
summer of
it. The
my picts, filter
trash the
programmer was
the
support several
the Debabelized
Director, I
use
the many
choices on
which would re-size
for
during
idea how to
After calling technical
job
.6
Debabelizer
ordered
months, I
v.l
to
buy the
software,
saver.
Director 4.0.4
5.
Director 4.0.4
was used as an animation
tool.
The finished
picts were
imported into Director.
The
ments
for
picts consisted of a
one scene.
cast member
box,
I
as
beginning
into the staging
was able
But
At the
I
to
align
started
istration became
to
the
background
area.
By
I
and a set of
1 5 to 30 different
used registration marks
using the
registration
to
help
move
place each
tool in Director's
paint
cast members with each other.
use
the
computer more and
less important. Photoshop
the
scanned
images
was accurate enough when
I
less,
reg
created
45
drawings using its
the
ter
I simply
each movement.
next one over
ber
over
the
it
layering
original and
easily
After I had done this, I
and set
the ink
forth between
to
check
member
er
was
the
a pixel at a
each
downs,
x
movement.
time
the
the
in
would
frame
I
could correct
the
with
I
the
created a
movie's overall
Oftentimes I
the
I
part of
the
a window view.
To
same
set
up
animation
created patches
to the
the
on
set
the
frame
and
frame
the
on
cast
the play
cast member
on
frame
rates
I
for
rate
for
walk
each
cycles,
faces.
the
castmembers were all
backgrounds. Large
performance.
based
frame
back
placement of
keys
used closeups with
movie
moved
next
the
When this
frame
hap
rate and
then
different
scenes.
pre
look in Premiere.
the
used
When I did this, I usually
within
Quicktime
ghosted cast mem
keys. By clicking
because
in
the
satisfaction.
and adjust various
often when
the
corrected, I
animation previews were slow
regis
moved
next cast member's
arrow
to my
cast members cause a considerable slowdown
viewed
arrow
and ease outs and zoom-ins on
480. This happened
pened, I usually
the
and
then
to
each cast member.
visible, I
player mode
movement
try
the
ghosted cast member
animated movements were
I
stage and
between
then clicking the
and
could smooth
ease
Often,
the
frame
sequence of movement.
640
With the
by moving
Once the
slow
matte.
original cast member's
it
the
could place
variation
the
moved
of
correcting, I
the
see
the accuracy
between
tool
to
mode
to transparent. I
set
longer necessary
was no
moved each sprite onto
the ink
with
it
and
capability
for
the
create an
Director
scripted
I
was
loops
to
for
a series of
force Director
currently working
animations
illusion
movie
of
the
keep looping
on.
in Director. Touvier
cast member
to
was often seen
moving behind
from
a static
46
background,
I
would cut out a piece of
this in
ground and paste
in the
Touvier's
of
Director may
animation
Although the
acceptable
base
character
of
life in
tion. A
was
was not a
how
beginning
digital
simple
task that
to apply the
father
and a
character
recorder
friend
in
a
in
at
who worked
recording
in
This
project
would
a window.
do satisfactory
in movement, it
I did.
animations as
still creates an
animation.
easily for
I
me.
wasn't sure
voice-overs and sounds
in
come
but
handy
the
.0.1
from
into the
the
presenta
cheapest model
for
voice-overs was accomplished
a radio station.
numbered sections.
studio
cast member.
Macromedia SoundEdit 16 1
have
back
$600.
recording the
typed up into
and
came
to
original
end capabilities of other computer
smooth
background
by SONY and weighed
of
enough
the
new cast member was placed
from behind
high
the
desktop
audio recorder would
The first task
This
Touvier's
seen
Disney
6. Sound: Sound Effects 2.0
Sound editing
of
but it is flexible
animations are not
illusion
of
being
have many
not
packages,
the
from
windowsill
as a new cast member.
stage as a patch over
the illusion
the
an effort
The
to
I had the
by
using my
screenplays
for
each
readers recorded onto a cassette
obtain
the
best quality
of sound
possi-
ble.
The
overall
look
characteristic old and
sound
ity
quality did
seemed
to
not
of
the
grainy
have
to
presentation was similar
appearance.
be
blend satisfactorily
premium.
with
the
Because
of
to
an old movie with
the
The detectable
overall
look
of
noir
like
hissing
the
their
settings, the
and
muddy
qual
animations.
47
The
bered
readers recorded
These
setion.
Each
ran
into
the Macintosh's
ended
puter
to
record at a
In
I
higher level
slightly lower
SoundEffects, I
used
then I taped the
altered
and amplified or
would record either
pitch of
set
to
the
sound
less
but
I
audible
scrubbed
the
back
meant
returning
either
accelerate,
the
low quality input
storyboards.
the
sound clips
the
the
into the
stereo system
com
seemed
to
seemed
voice,
divide it into
stereo
to the
same
level
and
speaker.
and
labeled
to
the
match
into SoundEdit 1 6. In
it
smoothed
graphics, the
the
a
level
sound
to the
to Director to
decelerate
I
dialogues
SoundEdit,
after each alteration
sound.
computer
filtering,
with
capability.
entire monologue or
sound clips
it became. There is
after numerous
the
divided
original
the
the
volume on
a chair near
the
de-amplified
I found that just like
muddier,
from
level.
sound chunks were all
the
scenes
divided into
SoundEffects for the recording because it
I had in the storyboards, I brought the
I usually
a
directly from
and muddier
microphone
Once the
computer and
line-level input incompatibility
is has
which
the
each num
than SoundEdit 1 6. SoundEdit's recording
three. Next I tried to
chunks of
one of
cassette's
sound chunks
a microphone.
record at a
the
into the
recorded
fit with
device
stereo mini
up recording the
using
later
chunk
a problem with
in between
monologues with pauses
pauses were
manageable chunks.
I
the
to
which
began
the
sound or
fix
edited
I
sound
slightly
that
clip, the
the
decay.
in Premiere. This
animations
a sound
the
could manipulate
to steadily
animated clips
alter
I
more
or
to
often
SoundEdit to
was garbled.
Often the
48
speaker would
lower his
SoundEdit
amplify the
and
because I
as possible
If the
sound clips
with
the
I
Film
for
the
same
library and
doors
directly from
the
or
nology but
7.
what
I
got was
other
return
background hiss
to
as much
beyond its limit.
would
and
look
try
to
the
elsewhere on
match
the
level
sound
copied soundbyte.
from CD's I found in
made
them
into the
the Computer Graphics
sometimes with a recorder or
slapping my hands
against an object
to
labs,
the
by crushing
create sounds
computer.
access
to
satisfactory for the
the
the Quicktime
movies were
background
never used
soundtracks with
the
sound
sound
devices
such as
the DAT tech
project.
Premiere for editing my Quicktime
any
I had
once
I
the
reduce
I had to
Premiere 4.2.1
used
and
to
"Vichy", I
word
I had better
Director. The Quicktime
tracks
the
the
microphone
always wished
try
so
sentence,
word, copy it into the clip
used canned sounds
Video
end of a
in effect, editing the
speaker muddled
paper, slamming
I
was
the
sound and
waveforms nearest
and
I
voice at
prior
animations within
to the
with
project and
the
voice over sound
created and
the
is
process
number of
frames I
there is
completed.
was
thought I
could sync
the
However, Director has limitations
Director.
has been
encapsulated movie once
tions according the the
imported in along
in
noises.
Premiere
movie
movies which were created
using
little
the
artist can
I learned to time the
although
this
do
with
anima
often varied
49
with
the
when
size of
using large
castmembers or quite a
Premiere is
ties
and
a
user-friendly
limitations is
the quality
works
very
few
of
product and start
well with animation
up time in
due
learning
video and
to the
to
predict
on one stage.
movies are often
today's
compared with
hard
sluggish and
them together
Premiere Quicktime
minimal.
disappointing when
But Premiere
Director becomes
the castmembers.
possibili
and
grainy
film
lower frame
its
capabilities.
rate required
by animation.
Real-time
achieved with
Because the
ing
of
There
up
video requires as
satisfactory
30 frames
from
results anywhere
eight
a second and animation
to 1 2
presentation was comprised of animations and
frames
drawn
256 colors, my PowerPC had little trouble playing back the
was some
the
with
frame
frame
dropping
rate required
animations was still clear and
I
went
series on
through
Premiere
Premiere
to
go
the Quicktime
I
pression
to
display the
sometimes
back
it there
the
to
When the
stills all consist
animations.
computer's
but
the
a second.
inability
overall
to
keep
quality in the
to Director
in Adobe's "Classroom in
exercises,
create
either
on each clip.
exercises
had
a good
grasp
of
the
book"
a
software.
the Quicktime movie, import it into
speeding it up
and correct
the
dividing
up the
clips and
animation
looked
wrong, it
or
Most often, if the
animation
there
and
then
remake
movie.
animated each scene and saved
utility
movie),
is
fluid.
several of
and preview
varying the duration
best
(frames lost due to the
and after several
I found it best
was
as
many
and compressed
it
as a movie
using the
them using Premiere 4.2's
entire scene or sequence was
finished,
I
animation com
"Make CD
Movie"
constructed a project
utility.
by
import-
50
all
ing
to the
movie
finished
the
ing
movies
for
that
storyboard and when
using
cinepaked movies were
Authorware 3.1
helped
final
the
back up
cycle was
MB
of
to
disk
space.
but
purchased a
Quicktime
With 24 MB
track
most
desktop
which points
of all
The
when
the
to
there
files for
inability
project with
complet
I imported into
to
ten
or
filling
manage all
twenty
only three
storylines
of
is
the
MB. (I later
entire project
of
250
upgraded
enough power
the
the
to play the
summer and as
with endless
up
a program
them
becomes
the
during
files
I
contin
all needed
projects.
packages
each project
I had to continually
headache.
during
other resources outside
are
projects,
hard drive capacity
RAM, I had
of
ZIP drive from IOMEGA
Premiere, like
but
problem
storage space was always a
the Premiere
project,
the
size of
movies and still picts.
which contained only340
from
pointers
the
final
made a
different Premiere
a computer with a
movies
making
lower
to
with
up
creating scenes, the ZIP floppies began
when
movie clips accord
the results, I
movies which
My biggest
CD's.
I had
hard drive
one gigabyte).
correctly,
I
clips,
by burning
and a portable
movies
the
drives
lack
hard drive
ued
sound
movies,
the
the
.
My hard drives began filling
completed
arranged all
was satisfied with
a cinepak compression which
The
ed movie.
I
I
sequence.
files
the
program.
per
almost
of
the
This is fine for
storyline, the task
of
of
one
keeping
impossible.
was a clue
instead
consisting mainly
that it
was
best
to
five I had originally
wrap-up
planned.
51
7.a. InVision: CyberSound 1
I had
bought
also
"CyberSound"
which
soundtrack
take
one
filters
to
soundclip
a package of audio plug-ins
helped helped
helped vary
and
quality
clip
with
the
from InVision
sounds somewhat
sound somewhat
and
different
software called
helped boost
the soundtrack.They
for instance,
blowing
of wind
make each
.0
for
each scene.
vary it through the
I
the
could
use of
the
and unique.
8. AuthorWare3.1
I
included
dia
chose
Director, but
fast
majority
I
on
the
called
use
Director
after some
enough
of
the
to
initial
load
the
the
story.
which utilized a
At
time
RIT,
line
would present
testing in September, 1 995 I
number of
Quicktime
the
curriculum
approach
the
in
project
using
Director
wasn't sure
movies which made
multime
up the
presentation.
in
created a small math quiz
user's response.
by the
present
I had originally decided that I
host
Both
loading
from memory
About August
Staff Multimedia Lab
upon
of
1
which
two
animations were
Each
movie.
a wait mode while
movie
Authorware to
extensive use of
authoring.
was
to
the
the
play
depending
separate movies which were
presentation
animation movie and
finishing
995,
in two
choice caused
up the
animations would
then
to
"clock"
purge
or go
the
into
loaded
animation.
the Educational
Technology
purchased several versions of
Center's
Faculty
and
Authorware 3.1 for the MAC
52
PC. An
and
undergraduate
friend had
also purchased
the
for
software
a senior
project.
I
iconic
worked
through the tutorial that
method of
which uses a
authoring
dizzying
with a
very different
was
scripting language to
Authorware is
help
of
my
built-in
and user
friend,
with
faster
from both HyperCard
capabilities such as
icons
and
The
Director
interaction.
the
which present
user
jumping, button
navigation,
feedback.
response
than Director. After
and reload
Quicktime
movies and with
in
testing
launching
and
purging the
the Quicktime response, I
10 Quicktime
movies was
decided
to
go
Authorware.
In December I
reading
some of
the
cracies which can
I
searched
college near
books
mailed
on
listserv
to Authorware's
questions and answers on
the
the
frustrate any
the
subject
listserv
on
the Internet
Authorware's
the
use of
and
icons,
share of quirks and
began
vari
idiosyn-
product.
using WWW.MCLI.DIST.MARICOPA.EDU (a community
but they
and asked
got a response
North Texas. He had
each
net
newcomer of
Phoenix, Arizona) for
Authorware. I
to
subscribed
functions. Like Director, Authorware has its
ables and
user
Authorware's
prototyped a model which offered a choice of
movies on one screen.
much
package.
control navigation and user
I tested Authorware's ability to load
the
the
comprised of a set of predefined
choice of
behavior, hotspotting
came with
information
all related
Authorware
to Authorware's
if anybody knew
back from
written a primer on
icon through the
on
of
and
found
previous version.
any third party books
professor
Bill Elison
Authorware 3.0
use of exercises which
took
of
the
which
several
I
e-
on
University
of
introduced the
anywhere
from 1 5
to 30
53
to
minutes
a
beginner. Between
who
The book
complete each exercise.
book,
the
had learned Authorware
the
manuals at
at a summer
ETC
job, I
was able
manual
help
and some
to
for
started"
"get
was a good
from my friend
begin my interface
design.
When I
in the
excercises
rather
got
than
tired
jumping
into
language
icons. For
some reason
understand
have loved
would
the icons
and
how
tools
I felt
to
I usually do
anyone who
has
and
write
use
them
frame
code and
the
freedom
would choose
Director
Authorware
out
the
need
to
button feedback,
time
for
the
pre-programmed
is
are
work
times
program
knowing
to
because
when
do
I
some
precisely how to
to
use
for
someone
than Director's
windows, its scripting
sound
language
channels,
and
for
and a
and
multimedia
formidable
host
button
options.
designer has
a complex
of
some
design,
I
Authorware.
muscles out
write code
set of
in my design
curve
Director than Authorware
over
fun
software
for fudge factoring.
inks, scripting boxes,
with
the
the
of
used a scripted or pro
instruct the
learning
few
a
with a minimum of skills.
how they behaved. There
the
try
learning
is Authorware's
But Director is less confining than Authorware. The
what more
would
confined or claustrophobic
much easier
palettes,
I
exercises made
multimedia
icons
of castmembers and
including
the
to
steepest part of
The interface is
array
design
the
in-betweening,
a new software as
to simply
thing. Authorware's
use
to
or
use of
drawback
major
grammed
drawing
The
manual.
I think the
I had to
of
Director in its ability to
by the author.
hot-spotting, hot-text
Much
of
allow user
interaction
the programming is
with
built-in like
and navigational controls which can save
user.
54
Authorware has
a
fast
I
could
and
a more straightforward approach and allows
relatively easy
design my
own
method of
buttons
Authorware has the
quickly
handy when
After
to
providing he
know
I
was
showing my
best
to
interfaces
and
use
for
together to
has
or she
I found
an
Like Director,
during
the
had its
A designer
idea
knowledge
each
designer
import them in.
demo
a sound
presentation
learning Authorware,
which was
a multimedia package.
advantage of quick prototyping.
put a multimedia prototype
spective client
in
and
creating
the
of
or concept
can
to
a per
the icons. This
development
advantages.
very
came
process.
The trick
was
a prospective application.
55
dow
The
D.
Interactive Module:
The
interactivity was designed
which when pressed
purpose of
The
button
to
was
grab
to stop the teaser movie, the
between viewing
any time. The
the
by the viewer
viewer could click out of
could choose
at
the teaser
"help",
viewer could read
the story,
understand
using
a
initiated
the
viewer was
brought
"help", "preface",
set
up
a
title
teaser
win
movie.
any time.
to
By
pressing the
a main menu where
"credits"
"View
or
areas were a
area
either get an
circumstances
understanding
behind
the story
Help
of picts
group
of
they
Story"
"credits"
sequentially to
rtetace
I
a small one minute
movie at
and
the
metaphor.
viewer's attention.
the teaser
"preface"
better
book
a
how
and read
to
that
view
the
credits.
Information
I
Pict*
on
from
Hi.story
Movies
and
Help
Credits
Star*. IIFi-kv
1 1 t.'-wr
1
INcxr II Ivxis
Quit
The Main Menu
One
of
the informational panels
viewer could read
process of
through
]
which
the
during the
they
viewing the movies if
wished.
56
The
courtroom panel consisted
he i
of
Actor 5
tm
.1111
m
3
^
-~l
Viii>
L-~yv~"-
Quicktime
i i
] E
movies
for
the
viewer
could
'
i
Oi
1
C3HEZ3
c>i
of
'"!'< h~y~~*~^*~*
;
:>'--i-
o->
group
each actor which
C
l=Jl
U
a
watch
by clicking
beneath
the
the
actor's
buttons
id.
i
tie
After viewing
it
Next Movie
each
movie, the
brought
an
to
intermediate
panel which gave
\ Main f Quk
Cn:Rm.
Next I
Quicktime
viewer was
to
the
the
option
the
courtroom or view
viewer
either return
to
the
next movie sequentially.
57
E.
Closing
The
months
the
to
Statements:
entire project
complete.
desktop. I
I
wanted
to
wanted
inexpensive Macintosh
The
worthy
took
how far I
could
in interactive storytelling
picking
understanding
screen
an
me about a year and
compose an entire animation project
take the
computer and some common
creating the
characters and
mental
see
to
Justice",
project was never completed as much as
experiment
process of
"50 Years to
I
would
a
present
for
relatively
multimedia packages.
have liked but it
with a solution
easy authoring tool to
in
desktop
using
targeted
and simple computer animation.
play, coming up
and experience
process
four
was a
The
for animating my
the story
gave me
funde-
animation and multimedia production.
58
F.
Bibliography:
The Complete Works
New
2.
York.,
Vichy France,
of
Egon
Schiele, Jane Kallir, 1 990, Harry
N.
Abrams, Inc.,
A Time Mirror Company.
Old Guard
New
and
Order, 1 940-1 944 Robert O. Paxton,
Alfred A Knopf, New York, 1 972.
3.
Front
Populaire, Robert Capa, David Seymour, Chene/Magnum,
1976.
4. Camera In
Paris, Brassai, The Focal Press, New York, 1 949.5. The World
Atget, Berenice Abbott, The Horizon Press, New York, 1 964
of
6. The Complete Van
Gogh, Paintings, Drawings and Sketches, Jan Hulsker, Harry
N.Abrams, Inc., Publishers, New York, 1977.
7.
Up
Front
,
Bill
8. The Illusion
Mauldin, H. Wolfe, New York, 1 945.
Life, Disney Animation, Frank Thomas
Hyperion, New York, 1 981
of
and
Ollie
Johnston,
.
9.
Atget, Voyage en Ville, Pierre Gassman, Romeo Martinez and Alain
Pougetoux, Asahi Shimbun publishing Co, Tokyo, 1 979.
Atget, Old France, John Szarkowski and Maria Morris
Hambourg, The Museum of Modern Art, New York, 1 981
10. The Work
of
.
1 1
.
The Work
of
Atget,
The Art
Hambourg, The Museum
Old Paris, John Szarkowski and Maria
Modern Art, New York, 1 982.
of
of
1 2. The Hidden Henchman, Ted Morgan, The New York Times
May 22, 1 994, pages 30-7+.
Morris,
Sunday Magazine,
59
1 3. Authorware
Primer, A Guide to the Features of Authorware 3.0 1 993,
Willard Elieson Ph.D., Stonepark LL.C.,1 10 Delano Drive, Highland
Village, TX, 75067 7105
,
S.
,
14. Adobe Classroom In A
Book, "Adobe Premiere", 1994, Adobe Systems Inc.
60