Showing posts with label keaton. Show all posts
Showing posts with label keaton. Show all posts

Sunday, October 08, 2023

Post 613 - Link to Buster Keaton: Home Animation project - Big Rapids Pioneer 7 October 2023

Link to Article


Trying to wear out the shirt


 (if it has a paywall, here is the text, (c) 2023 by the Big Rapids Pioneer, with many thanks to Dylan Schwartz and several fun conversations over the past few days!  Go, journalism!)

BIG RAPIDS — Local animator, Big Rapids native and Ferris State University alumnus Jim Middleton recently provided his talents to a documentary about comedian Buster Keaton.

“Home,” a film by Clear Vision Films that examines the early years of renowned comedian Buster Keaton in Muskegon’s Bluffton neighborhood, wrapped up filming in July and is currently screening at national film festivals before going on general release this coming year.

The production started in 2017 but was delayed by the pandemic until it could resume last year. The 90-minute film that is currently in limited release required hours of interviews to be condensed.

As soon as the pandemic started, Middleton, an internationally renowned animator, was asked to contribute further visuals to the project.

Middleton started his animation journey as a child watching Disney cartoons on Sunday nights.

After his parents pushed him to learn a trade, Middleton became a pharmacist while continuing to work on his animation.

“I kept working on my drawing. I discovered some of the best art lessons you can learn are just to make an animated cartoon because you have to do 500 to 2,000 of them to make anything more than a flipbook,” he said.

Middleton was excited to work on the Buster Keaton project.

“My first reaction was ‘hot diggity.’ I’ve been a big fan of Buster Keaton since I was a kid. I really admire his sense of cinema, his sense of humor, and what he was able to do physically that we have to have computers to do now, he was doing it all in a silent venue,” he said.

He created more material than was ultimately necessary for the project, giving the producers space to edit to fit the narration.

“I created about six to seven minutes of animation for the project because they were in the process of continually editing, and I was in the process of always adding more footage. Everything I drew was shot long, they would probably pull parts out of it,” he said.

Middleton was required to create animated segments to fit the sometimes surreal moments of the film as the “narrative arc” took shape.

“It was a slight challenge to develop a storyboard without any real script for guidance,” he said. “However, my lifelong affection for Keaton’s work made finding reference material a relatively quick task. And having copies of all his surviving films in my archive helped quite a bit.”

He approached it similarly to creating a silent movie.

“I created sequences that were all visually driven. There were no opportunities for dialogue, it was pretty much thinking along the ways you would approach a silent movie,” he said.

Middleton kept in mind the period and made efforts to make it look old, not like modern cartoons.

“I would develop a layout, I would bring it into a digital format, where I would draw it in a digital tablet but I wanted to keep it looking real, not like a typical present-day Spongebob, CGI cartoon, more along the lines of something that may have been animated in the late ‘40s, that was my kind of goal for it,” he said.

He enjoyed the freedom this project afforded him.

“To me, it was an opportunity to experiment and explore. I was given pretty much free rein,” he said.

Middleton implores those who are unfamiliar with Buster Keaton to check out his work.

“This was a hoot from start to finish. If you haven’t seen Buster Keaton, go to YouTube or download it. All of his films are public domain and they have 4k resolutions out there. Each one of them is just a visual treat,” he said.

More information about “Home” can be found at: http:// www.busterkeatonhome.com and Middleton’s short film can be viewed on Vimeo at: https://vimeo.com/796085457/16a55992f8.

Middleton currently holds the position of secretary for ASIFA Central, a regional branch of the International Animation Association established in 1960.

For many years, he organized screenings and lesson plans throughout the state. He recently resigned from teaching “and other distractions” to move to Edmore, where he continues to make movies, blog nonstop, and plan an annual animation festival there every October.

The 2023 International Animation Day Celebration will take place from 1 to 3 p.m. on Sunday, Oct. 29, at the Curtis Community Building, 209 Sheldon St., Edmore. (note - there will be other venues around the State and immediate area, including Grand Rapids, Mt. Pleasant, and Midland - check your local papers - the locations and times will be added to this blog as information trickles in!)

Wednesday, March 24, 2021

Parlor, Bedroom and Bath - 1931 - A Visual Study of Camera Speeds

Early sound films were concentrated on just that - sound - with the visuals often suffering as a result.  Keaton was able to insert little bits of silent business in them, but when compared to his silent work, they frequently seem slower paced.  This is because - they were.  Sound film is filmed and projected at 24 frames per second, based on the projection speeds in place in the late 1920s, speeds set to increase the number of daily projections of the features of the time.  

Silent film began at being shot at 16 frames per second (to squeeze in the most action within a limited film budget, Griffith had his Battle at Edlerbrush Gulch shot at 14fps!).  So, filmmakers caught onto the increased projection rate by increasing their camera speed to about 20fps by 1920, and more like 22fps by the mid to late 1920s.  Actors, editors, and directors became used to that rhythm and performed accordingly.  

When 24fps became the standard from 1928 onward, it took a while for the pacing to accommodate the change, and especially visual humor.  Keaton's early MGM work is a case study in this.  First of all, MGM didn't understand humor, shooting and lighting their comedies in the same manner as a courtroom drama (just look at the dreary sets of Speak Easily).  

For a visual comparison, here is a silent sequence (with ambient sound, no dialogue) from the frustratingly staged Parlor, Bedroom and Bath from 1931.  This is how it looks, shot at 24fps, the standard sound camera speed.  The gag is a variation from the house-demolition climax of his 1920 One Week:


Now, if it had been shot at 22fps (about 10% "quicker" during projection), the standard for the mid-1920s, it would have appeared as this:


And if it had been at 20fps (20% quicker during projection), the general speed of around 1920, it would have appeared this way:


The differences are subtle and work on a subconscious level - the eye can absorb the information faster, so what we are left with is the pacing.  At 20-22fps you can see how the performers of the silent era were thinking things would appear during the early sound era.  

When The Artist was produced in 2011, it used the 22fps camera speed - and it worked very well on many levels that the Brooks film, Silent Movie, failed to achieve in 1976.  

Keaton's work at MGM showed many production blunders besides misunderstanding visual humor - my film production students were able to shave 10 minutes off of Speak Easily by following basic editing techniques - avoiding redundancy, punching a joke by proper cutting, creating inserts to direct the audience attention - and were working on Doughboys to experiment with varying film speeds during the silent sections.  "We can fix it in post," may have been a phrase used then, but rarely employed.  

(The use of varying camera speeds is still employed today and not only for comedic effect - Raiders of the Lost Ark used 20-22fps for some of the action sequences.  When blended with music, sound effects, and editing, nobody really notices that things are moving 10-20% faster than might be humanly possible.  Movie magic!)

Timing can work both ways.  Here is the original gag from Keaton's One Week in 1920, projected at 24fps, followed by a projection at 20fps (both clips are silent):


24fps projection


20fps projection

And, regarding the 1920 film, it is interesting (to me, anyway) even how carefully the For Sale sign is positioned, how it stays rigidly in place with its gentle posing, and how the instructions envelope sits at the right spot - nothing wobbles, nothing moves, with all that surrounding destruction.  


Monday, March 30, 2020