Lip Synchrony of Rounded and Protruded Vowels and Diphthongs in the Lithuanian-Dubbed Animated Film “Cloudy with a Chance of Meatballs 2”

In this article, the problems of dubbing, especially related to lip synchrony as one of the most challenging aspects of audiovisual translation, are scrutinised. Contrarily to the traditional focus on bilabials and open vowels, the object of this research is lip synchrony of both rounded and protruded vowels and diphthongs since lip rounding is a visibly marked feature, which cannot be neglected especially in close-ups. The study aims at determining the inaccuracies in lip synchrony of the mentioned phonemic group in the dubbed animated feature film Cloudy with a Chance of Meatballs 2 from English to Lithuanian. Qualitative and quantitative analysis is carried out by employing a comparative method. The research methodology is based on the theoretical insights and assumptions provided by Frederic Chaume (2004, 2006, 2012), Richard Barsam & Dave Monahan (2010), and Indrė Koverienė (2015). The research findings demonstrate the main issues of lip synchrony a translator might face while adapting a piece of audiovisual material for the target language audience. Also, it provides insights into the quality of the overall translation of the chosen film

Perancangan Bahasa Tubuh Tokoh yang Mengentengkan Ketepatan Waktu dalam Animasi 3D "WKWK LAND"

Penulis memilih untuk membahas perancangan gerakan animasi karena gerakan seorang tokoh dapat memberikan informasi yang jelas mengenai karakteristik tokoh secara visual. Skripsi ini membahas mengenai visualisasi dari gerakan masyarakat WKWK Land yang dibuat dalam media animasi 3D. Masyarakat WKWK Land atau nama panggilannya âWKWKersâ sudah terbiasa dengan kebudayaan âjam karetâ sehingga mereka mengentengkan ketepatan waktu. Hal itu menyebabkan tubuh mereka bergerak seperti karet yang dapat memanjang. Perancangan gerakan tokoh akan didasarkan pada teori-teori pendukung dan diperkuat dengan referensi-referensi gerakan pada beberapa film animasi. Dalam proses awal penelitian, gerakan tokoh yang akan divisualisasikan harus dikategorikan sesuai dengan jenis dan fungsi karakter. Selanjutnya, perancangan gerakan akan berdasarkan pada 12 prinsip animasi, khususnya prinsip timing, staging, dan exaggeration. Selain itu, teori mengenai komedi dalam karakter serta bahasa tubuh juga akan mendukung perancangan tersebut. Hasil yang ingin dicapai oleh penulis yaitu agar dapat menampilkan kepribadian tokoh âWKWKersâ melalui gerakan animasi

Rendering Climate Comedy in *Cloudy with a Chance of Meatballs 1* (2009) and *2* (2013)

This paper analyzes the Sony Pictures Animation franchise *Cloudy with a Chance of Meatballs 1* and *2* (2009, 2013) in terms of its affective engagement with climate issues. Throughout the two films, the trope of constantly changing food weather is the subject of analysis and representation both diegetically by the films’ characters and extradiegetically by the films’ technical directors. Rendering the climate in an appealing way becomes paramount on the level of narrative and production. The treatment of food weather in the *Cloudy* films demonstrates the ways in which environmental animation mediates between, in the terms of C. P. Snow, the two cultures of the arts and the sciences. The *Cloudy* films, like many other examples of environmental animation, respond to Snow’s call by deploying imaginative, often comic approaches to topics that in the mainstream media are treated logically and seriously, but with little impact on policy. In the case of the *Cloudy* films, that comic approach to environmentalism is tempered by the films’ cooptation into a corporate responsibility campaign against food insecurity and by the fact that comedy is part and parcel of the business model of industrialized animation. Still, the technical challenges of animating and rendering food weather demanded that animators imaginatively experiment with actual food in a way that went over and above corporate policy. The arresting beauty and sensory engagement of the resulting animated food appeals to characters and viewers alike. Therefore, animated food—mediating nourishment and communication, science and art—may provide a productive inroad to exploring environmental issues

Animated Film Production Process: The Creation of Lighting for Gear Up

The following thesis details the creation of a shot for an animated production titled Gear Up. The process for creating this shot was patterned after professional animated productions and included the following steps: pre-visualization, story boarding, modeling and asset creation, UV layouts, texturing and surfacing, scene assembly and camera layout, character and prop rigging, character animation, lighting, rendering, and compositing. The motivation for this project was to create a product that artistically has a darker aesthetic than many previous Clemson DPA animations, but still enjoyed high quality visuals. One of the goals was to create a large-scale scene centered in a post apocalyptic robot war. This project also served as the first opportunity for incorporating the rendering engine called Arnold into the Clemson DPA animation pipeline and artist workflow. In order to accomplish the goals set above, a series of technical and artistic problems needed to be solved. With the use of 3D preproduction prototyping, modular and procedural asset gen-eration, new content generation tools, and optimized workflows, the team was able to tackle all production challenges and create high quality content efficiently and with minimal stress to the artists. This thesis also delves into the elaborate process of scene lighting; detailing the artistic decisions and motivations that lead to the final product. The lighting is created by examining references from film and real life, lighting designs, and advanced lighting techniques. The results of the project was a 400 frame animation of a post apocalyptic city block featuring a detailed robot, armed for war, standing guard by his tank amidst piles of debris, barbed wire, and rubble. The shot was rendered entirely in Arnold apart from the FX elements, which was rendered using Houdini Mantra. It also represents a successful collaboration between several volunteer artists with various skills and time commitments

The BG News October 14, 2013

The BGSU campus student newspaper, October 14, 2013 Volume 93 - Issue 22https://scholarworks.bgsu.edu/bg-news/9668/thumbnail.jp

Cloud animation

Clouds are animate forms, shifting and evanescent, mutable and always in movement. They have also long been a subject of imagery, especially painting, because paint, most notably watercolour, as John Constable knew, seeped into thick drawing papers much as a cloud seeped itself through the sky. The drama of clouds in the 20th century was seized by film and it is striking to note that many Hollywood Studio logos use clouds. Clouds from Constable to the Hollywood logos are Romantic clouds. They drift and float, produce ambience and mood, along with weather. But the cloud appears in the digital age too, in more ways than one. Clouds have been constituted digitally by commercial animation studios and used as main characters in cartoons; they are available in commercial applications, such as architecture and landscaping packages; they have been made and represented by art animators. This body of work, kitsch and dumb as some of it is, is treated in this article as emblematic of an age in which the digital cloud looms as a new substance. The cloud in the digital age is a source of form, like a 3D printer, a source of any imaginable form. As such it comes to be less a metaphor of something else and more a generator of a metaphor that is itself. Now we live alongside – and even inside - a huge cloud metaphor that is The Cloud. In what ways do the clouds in the sky speak across to the platform and matter that is called The Cloud? What is at work in the digitalising of clouds in animation, and the production of animation through the technologies of the Cloud? Are we witnessing the creation of a synthetic heaven into which all production has been relocated and the digital clouds make all the moves? Keywords Cloud, day-dreaming, dust, digital, metaphor, Romanticis

THE STYLE OF TRANSLATION ON THE MOVIE OF CLOUDY WITH A CHANCE OF MEATBALLS

MELASARI RAHAYU: THE STYLE OF TRANSLATION ON THE MOVIE OF CLOUDY WITH A CHANCE OF MEATBALLS. Translation was intended to help people to understand the target language. There were various language in this world. The differentiation of language often make a misunderstanding among people who came from different country and different language. It can be made some problems. To avoid this case, translation was one of the way as a bridge communication between people with different language. Translation can be successful work if it can accurately re express the message from that movie subtitles. But, sometimes the movie subtitles there were untranslated words. It causes the audiences confused and difficult to catch the message from that movie. From this case the writer interested in analyzing the style of translation on the movie of „cloudy with a chance of meatballs‟. Translation was a process of transfering meaning from source language to the target language. Translated sentences should transfering the meaning. Translation result depend on the translator himself. The result of translation was shown the style of translation of the translator. In this research the writer analyzed the style of translation. This research was aimed to find out the method types of translation on the movie of „cloudy with a chance of meatballs‟ and to find out the method of translation construct the style of translation on the movie of „cloudy with a chance of meatballs‟. Furthermore, the writer analyzed the style of translation on the movie of „cloudy with a chance of meatballs‟ using qualitative content analysis. Content analysis was a research method applied to written or visual materials for the purpose of identifying specified characteristics of the material. This means after the data collected, the writer analyze the content of the data. The result of this thesis was the writer found five method types of translation on the movie of „cloudy with a chance of meatballs‟, they are: near idiomatic translation, modified literal translation, very literal translation, idiomatic translation and literal translation. The writer also found the style of translation of that movie was the translator try to deliver the message by loking for the suitable meaning that will be used in receptor language. The translator also tends to use some method types to match the translation product with the source language whether the translation product has deliver the meaning or has not. The translator tries to make the translation product easier to understand, make it communicative to the reader, deliver the message clearly by looking for the close equivalent and avoid a clumsy sentence to keep the humorous message in this movie. It is also related to genre of the original text. So, it is dominated by near idiomatic translation

October 4, 2013

https://egrove.olemiss.edu/thedmonline/1543/thumbnail.jp

The BG News October 21, 2013

The BGSU campus student newspaper, October 21, 2013 Volume 93 - Issue 25https://scholarworks.bgsu.edu/bg-news/9671/thumbnail.jp