Following that, Jessica pulls Eddie’s tie and stares at him for a few seconds. The animated character gets off the stage, touches Eddie’s coat and takes the hat off his head. Take as an example this scene which detective Eddie Valliant watches Jessica Rabbit performing in a club. It was a tough film but one I wouldn’t have missed for the world.” And on top of all that, you had to create beautiful animation. Also, the camera moved so much that you would have to find points on the stats with which to register the character’s position. “It was a real struggle to match your drawings to the live action frames. “With 3 to 5 of those stats on your desk, the light table barely worked”, he said. “But isn’t that a lot of work? Yeah! Twice as much work.” In order for the presence of the animated character in moving environments to be possible, all the frames needed to be drawn in perspective.Īnimator Nik Ranieri - who animated some scenes for Roger Rabbit - revealed to LabJor FAAP that all the frames of the live action footage that contained animation were scanned and delivered to the animators. “We’re supposed to turn things in every direction”, said Williams in an interview quoted in the video Who Framed Roger Rabbit - The 3 Rules of Living Animation (in the channel “kaptainkristian”, at 4'4'’). To Williams, animations had never been putted into this shots for pure laziness of the animators. But it was Williams who convinced him otherwise, elevating the realism. “Zemeckis was instructed not to use camera movement in the shots which animated characters were present”, states Eliseu Lopes Filho, coordinator of the major in Animation of FAAP. To to this, director Robert Zemeckis wanted the animated characters to interact with the greatest amount of real objects as possible.Īnd as if the physical interaction with real actors wasn’t enough, Roger Rabbit was even bolder in the use of a relatively simple technique: camera movement.
Despite the animation in perspective depicted in this article’s biography, the two-dimensional characters needed to convince the audience that they lived in a three-dimensional environment. However, other elements helped “Roger Rabbit” to differ from previous films. The visual contact between the real actors and the animated characters was essential for the integration of the illusion. Still of scene of the film “Mary Poppins”. There wasn’t really a connection between the two parts, and the illusion does not sustain. And for a very simple reason: the eye line of the actors crossed the animated characters. However the film did not succeed with the direct interaction among the actors with the animated characters. The film was groundbreaking in the use of techniques such as rotoscopy - defined by the Animated Dictionary of LabJor FAAP as an “animation made on top of a reference recorded in live action”. Take Mary Poppins (1964, Walt Disney Productions) as an example. Other attempts to mix reality with animation had already been made before, but none hit Roger Rabbit’s degree of excellence and efficiency. The film explored the topic with such high level of perfection that I still await for another film that combines the elements of live-action and animation in such effective and legit way as this. Its intention had instant effect on me: I did not believe that the animated characters weren’t real. It is because of Who Framed Roger Rabbit that I am so fascinated for techniques in visual effects. When I was reintroduced to the film in my animation classes in college, a heat rose in my spine when I finally understood the mechanism of production and to realize that it was, in fact, possible to make such a bald film such as this. I frequently watched the making of the film that came with the DVD, but I didn’t understand none of the technical parts and the material barely hit the surface of the production. And this passion grew even bigger when I discovered that Richard Williams had been the director of animation, and that he was a main reference as well in the industry as in my History of Animation classes. I was completely hallucinated by this film in my childhood. I must have watched Roger Rabbit more than a hundred times. I would go to the living room and EVERY TIME I’d watch the same films: The Nightmare Before Christmas (1993, Touchstone Pictures), by Henry Selick, or Who Framed Roger Rabbit (1988, Touchstone Pictures), by Robert Zemeckis. I always woke up early, usually I was the only person awaken in the apartment at 7 a.m. When I was a kid, I used to sleepover at my aunt’s house on the nights of Saturday to Sunday.
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