“It would’ve been much simpler to just use an animated cigar.”
In this 7-minute video , kaptainkristian talks about the fascinating process of making Who Framed Roger Rabbit, the pre-CGI hybrid animation/live action movie from 1988: = 2x) and (width >= 700px)" srcset="https://unsung.aresluna.org/_media/it-wouldve-been-much-simpler-to-just-use-an-animated-cigar/yt1-play.2096w.avif" type="image/avif"> = 3x) or (width >= 700px)" srcset="https://unsung.aresluna.org/_media/it-wouldve-been-much-simpler-to-just-use-an-animated-cigar/yt1-play.1600w.avif" type="image/avif"> This is called “bumping the lamp” – a phrase coined by Disney during the production of Roger Rabbit to describe going above and beyond what was expected of the animators. It would’ve been perfectly feasible if Roger stayed flatly illuminated throughout this scene like a cartoon normally would, but instead the animators put in the time to shade every cell uniquely so that the practical light would bounce off from the same way it would a physical object. And they had to account for that dynamically shifting lighting with every contour in Roger’s limbs, his clothes, his face, the cast shadow he creates on the environment as well as the texture of the light, the slightest difference in color temperatures, the lamp sways… even Roger’s ears have a slight translucency, since they’re much thinner than the rest of his body. They thought of that. Audiences had no expectation for this level of realism in 1988, but all these seemingly-superfluous details help sell the effect at a subconscious level. “Bumping the lamp” can be seen on two interlocking levels: one that focuses on the quality of the output (as above), and one that focuses on process toward personal mastery of craft. On that second level, here’s an anecdote from the original Mac team, a few years earlier: One day Burrell started doing something radical. Andy came by my cube and said “You’ve got to come see what Burrell’s doing with Defender.” “How can you innovate with a video game?” I wondered. I’d seen Burrell and Andy innovate on all kinds of things, but I couldn’t image how he could somehow step outside the box of a video game - the machine controlled the flow and dictated the goals. How could you gain some control in that environment? We started up a new competition, and when Burrell’s turn came up, he did something that stunned me. He immediately shot all his humans! This was completely against the goal of the game! He didn’t even go after the aliens, and when he shot the last human, they all turned to mutants and attacked him from all sides. He glanced in my direction with a grin on his face and said “Make a mess, clean it up!” and proceeded to dodge the swarm of angry mutants noisily chasing after him. I am neither a good visual/motion person, nor a great gamer. But I recognize this desire to once in a while walk up to a pool and throw yourself into a deep end of it, out of principle. Sometimes when I start a new project, I choose a different framework or method I haven’t used before, just so things are harder. On Aresluna and here on Unsung, I very deliberately chose “no centering” as an arbitrary principle, just to push myself to embrace the – harder, but more rewarding – asymmetry, and see where that takes me. I am sharing this just after I shared the other maxim because I believe in those more that I believe in style guides or design principles coming “from above.” I see craft blossom when it can flow from individuals, and when the organization and attendant processes recognize that. Let people bump the lamp, make a mess, feel certain way about weird things, and do other things – and then let others observe, learn from that, and share the strange rituals and arbitrary rules that make them try harder when no one’s asking for that. (Thanks to Jon Wiley for sharing the original video.) #above and beyond #craft #games #motion design #youtube
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