Disney animated snow here to be soft and heavy. I think they even developed a whole software just for animating snow! They add a lot more vivid color, like the blues in the shadows and the oranges in the light. Obviously, the way they animate catches the eye easier because of its strong color and bouncy movement. Characteristic and still reminiscent of the classic Disney movies.
Dreamworks made the snow here look powdery, like it had just fallen. Look how it kind of “explodes” and clouds up like dust when it’s hit with such a great impact. It’s less colored by light, but it still looks very real. Dreamworks puts so much love and detail into their animation, making it look so real you feel like you can reach out and touch it.
Both Disney and Dreamworks make movies that are amazing to look at. I could stare at the details forever.
This is the kind of animation and positivity i need on my dash.
…*sighs* such beauty…
This is legit the first Disney/Dreamworks comparison i’ve ever seen on my dash that hasn’t been aggressively one-sided i’m shocked
If you think Walt Disney was the first person to create a feature length animated film you’re wrong. The first person to do it was a woman – Lotte Reiniger. See more about how her silhouette stop motion worked.
I’ve already reblogged this but I’m going to again because ever since I found out about Reiniger I’ve been horrified and pissed off that she was NEVER ONCE mentioned in my history of animation class. And neither were any of the other women animators I’ve learned about since.
Animation majors of all people should be taught about this, but no the only figures deemed worthy were all men
Can I talk for a moment about visual storytelling, cause, I feel like it’s something that a lot of adaptations forget about in lieu of trying to replicate their source material.
It’s a problem you see most often in anime derived from manga or light novels, but it’s also present in movies based on YA novels, and you gotta know what I’m talking about, start on black, opening narration, fade in as the main character explains the world and environment. This works in a book since the reader can’t see anything, they need the specifics of the world explained, but it feels like the movies are just like “well it worked for the book, it’ll work for us right?
I’d say it’s worse in anime, where characters will go on long internal soliloquies trying to explain their thought processes and complex emotions, which again, works for the manga, in a manga movement is very expensive, every single motion requires it’s own panel, which takes up the artist’s time, printed space, and a moment in the narrative, so it’s important to only show what absolutely needs to be shown. But animation is different, it’s all movement and the details are what sells it more than the dialogue.
The reason I wanted to make this post is because of one scene in One Punch Man that perfectly exemplifies how to translate a written thought process into visual storytelling. After getting punched to the moon (err, spoilers), Saitama has this thought process
and it’d be easy to translate that entirely literally in the anime, Saitama crouches, has an internal monologue as he tries to figure out how much force he needs to put into his jump, and then he launches. Instead though, the scene is done completely silently, to sell the fact that he’s in space, but the thought process isn’t removed, it’s just show visually.
He throws a bit of moon rock to gauge the moon’s gravity, then launches, it’s a much more thoughtful approach to the scene and the audience’s ability to interpret visual information.
I just, really wish more adaptations realized the inherent strength of the visual medium instead of relying entirely on the source material’s structure and reliance on its own medium.
The mental shift between realising this is animated.
there are so many things great about this aside from how hardcore this mosh pit is
– the shield that gets launched into the stratosphere as soon as the armies collide – the guy on the left side who somehow manages to do a complete 180 in all of the mayhem and dives out of frame -the guy on the right side who decides not to get involved and runs right past the camera – the final dude who trips in the least natural way possible
wupacing 