Reverse Video Reference of Walking

Dr kaufman, you will be recieving my doctor's bill for the butt injuries sustained completing this portion of the homework

The slipping the character does was super hard to imitate! Nice drawings though.

I tried this a couple of times on my feet, but it just works better standing up. OH WELL NO PRIZE(Soup) FOR ME.


LOVE BJET

The Laws of Physics in an Animation Universe Term Paper

For many animated features, story is king. Everything in the movie is designed to advance the storytelling or enhance the visual communication of the character's personality. This can be achieved through a number of ways, whether it be the lighting, the pacing, or the character design. For many of these stylistic choices , there is an according physical law that governs the action in our universe. Depending on what advances the story, animated films can create a universe and adhere or deviate from these laws to further enhance the film. Disney's The Emperor’s New Groove adapts a flexible use of rules of physics to alter path of actions for objects, enhance the character costuming, and create drama and tension in the plot to create a better sense of who the characters are and how their story unfolds.
The opening scene of a movie is essential for setting the tone and mood of the film. This can be establishing the genre, setting the pace, or introducing a set of rules for the universe. This last trait is especially fundamental in movies with a fantasy element, demonstrate to the audience that it's natural that superheros can fly or that space travel is possible. Animated films can establish their relationship to the physical world, like the hallucinogenic rotoscoping of Waking Life, or the extreme physics of a Warner Brothers cartoon. Emperor’s New Groove opens with a musical number, first establishing its lively tone and self-absorbed titular character, Emporer Kuzco. Kuzco's role as a narrator instantly structures the story around him, and the song “Perfect World” establishes his main flaw – his own ego. As he interacts with his perfect world, even the laws of physics bend to meet his needs. As he whips his llama comb into the basket, its path of action is flattened (see 00:17 in video below). As it travels, the change in Y axis is far greater and more even than its change in its X axis, defying the parabolic arc that governs the trajectory of objects in our universe. The comb also lands perfectly in a cup, without decelerating enough to accommodate the force of the speed it was traveling at.

Throughout the song Kuzco moves through the palace and the movie continues the number with the snappy timing and loose adherence to the laws of physics in order to accommodate the Emperor’s desires. A servant, carrying Kuzco up a flight of stairs, in his haste to please his ruler as quickly as possible loses balance while carrying the throne (see 00:41 in the video below). From the hunched position of the servant it becomes obvious that Kuszo and his throne are heavy. Additionally, the servant's small size in comparison to the weight and size of the throne give a small base of support on which to balance throne. Then, as the servant careens up the stairs, the throne goes wildly off balance. In reality, without a counter balance or some weight to lower the throne's center of gravity Kuzco would certainly fall off the stairs to his great injury. This bending of the rules of physics serves two purposes, first it adds tension to the sequence, and secondly it reinforces Kuzco's self-absorbed world-view. Everything, including the laws of physics, must bend to suit his needs.
Occasionally, the movie adds realism to the sequence to give it texture. A pliant of use of physics has been established, but the movie also uses more realistic physics to punctuate character development. On the throne, Kuzco is given a drink of water, which he then turns to spit into the waiting basin of a servant. As he spits, the water falls into a perfect parabolic arc – missing the bowl and landing on the servant's head. This moment of storytelling is surprising, after almost a minute of the world around Kuzco conforming to his needs, the audience expects the water to hit the basin perfectly. When it misses and hits the servant's head instead, as it would if constrained by our laws of physics, it is a surprising bit of slapstick comedy that lends another element of entertainment to the sequence. Additionally, when Kuzco shows the same regard as if he hadn't just spit all over a servant, it reveals how little he cares about the well-being of others and the effect that his actions have on others. This lack of respectfulness later becomes ironic when Kuzco is transformed into the very animal that exhibits that behavior, the llama. These small bits of acting establish the fatal flaw of Kuzco's personality and set up the premise for the conflict on which the movie hinges.
The movie also puts careful thought into the costuming of its characters. Pancha, the peasant who assists Kuzco after he has been transformed into a llama, is dressed in simple pants, shirt, and poncho. These clothes, while instantly establishing Pancha as lower class and humble, also symbolizes his relationship with his wife in family. When Kuzco mockingly compliments the green poncho, Pancha replies that his wife made it. The tenderness that comes into his face establishes how much he cares for his family and how much they mean to him. His simple dress reflects his simple values. There are many other characters in the film whose clothing is simple but reflects their personality. These attributes also conform to the laws of physics and one of the principles of animation, follow through. Pancha's daughter, Chacha has two long pigtails that quiver and flop around as she talks, jumps, and bounches. Their dynamic movement reinforces her natually bright, energetic, and childlike personality. Pancha's wife, like many characters in the film, sports large, disc-like earrings that swing in broad arcs arcs as she moves her head around. The earrings and other costume characteristics are a cultural presence, reflecting the Meso -American culture of the film. The follow-through of these characteristics is define by Newton's Second Law of Intertia. The earrings and the pigtails are objects that will not move unless acted upon by a force, and will continue their motion unless acted upon by another force. Accordingly, they drag behind the character or continue to move or swing as the character slows his or her movement.
By contrast, both Kuzco and the antagonist the film, his advisor Yzma, sport flamboyant, biacrd-like costumes with large plumage and bright colors. These outfits represent several things at once: their status as royalty or upperclass, their attitude towards the world, and again that the laws of physics bend to meet their expectations. In Kuzco's original costume, he sports a robe with a train that trails behind him like a long, curling plume as he moves through the palace. The train, though conceivably made of cotton or some other traditional fabric, defies the force of gravity as it retains its feather-life shape despite any visible supports that would hold it up. As Kuzco walks quickly down a long hallway, it drags out behind him, almost laying flat, later – as Kuzco performs dance moves in a tight space it stays tightly curled, only flaring enough to accommodate for the force of centrifugal motion. Though the manner in which the train moves is physically unlikely, the use of the train in the scene is compositionally enhancing, as well as revealing to Kuzco's character.
The principles of Physics are used elsewhere in the film, defining broader act to add tension and depth to the film. After being stranded in the middle of the country-side, the transformed Kuzco attempts to forge through the jungle himself, only to encounter a pack of jaguars. At the last moment, as Kuzco stands corned on a cliff, Pancha swings Indiana Jones-style in to save him. Comedically, he misses. The films uses a real-world path of action for a pendulum for Pancha's swing – as he swings in he accelerates exponentially, but then the spacing becomes more even as he swings past the Emperor. The animators then accommodate the time it would take for the the pendulum to reach its apex and return – decelerating and accelerating and then reaching an almost constant speed before Pancha scoops up Kuzco. This swinging in perspective adds visual texture to the movie, adds tension to Kuzco's predicament with the jaguars, and reveals Pancha's character and commit to helping Kuzco.

This use of a real-world principle of physics for storytelling is elsewhere in the movie. As Pancha and Kuzco are making their escape from a collapsed bridge, they must work together to climb out of a dangerous ravine to safety. To do so, they press back to back – after some adjustment they use the force of their legs to create a net force that is both balanced with each other, and more importantly, gravity. This action is symbolic of their relationship, but also uses the principles of Newton's law of inertia to show the motionless of an object under balanced forces. This balancing gives them the ability to scale the inside of the cliff and increases the dramatic tension of the movie, which releases more comedically when Kuzco swings down on to a cave of bats, unrealistically being carried by the force of the bats to the top of the canyon and safety. In the movie, this is the first moment that two work together instead of each being motivated by their own personal agendas – this use of extreme physics also comes into play at the climax of the movie when the pair must again use this technique to reach a potion and finally turn Kuzco back into a human.
The Emperor's New Groove is a lively, snappy, film with a good sense of storytelling and character development. It fully utilizes many design techniques and principles to create a convincing world, one of those techniques was a sound understanding of the Principles of Animation. These principles respect the fundamentals of physics to create a more believable animation that can allow the story and acting of the character speak for itself, or can bend the same laws to increase the entertainment value. It is with careful consideration that the filmmakers balanced these two approaches in Emperor's New Groove, and the effect is a lively and entertaining film.

The Laws of Physics in an Animation Universe Outline

Thesis: For many animated features, story is king, everything in the movie is designed to advance the storytelling or enhance the visual communication of the character's personality. Emperor’s New Groove adapts a flexible use of rules of physics, either adhering to the the rules or bending them to create a better sense of who the characters and creating a more entertaining and enthralling film.
I .opening scene: things come in and out of frame and king reacts to them in a way that demonstrates character
Adheres for character development and entertainment: when a man comes with a spittoon the water does fall in a perfect arc – as it misses the bowl to hit his head
1. Bends for character development: Kuzco throws things and moves them around, creating snappy timing and pacing, but the objects fly so fast and straight there is often no parabolic arc
2. This bending of physics is established first, creating a bigger suprise when it adheres for character development and entertainment: when a man comes with a spittoon the water does fall in a perfect arc – as it misses the bowl to hit his head, we are used to the items landing perfectly despite laws of physics, the spitting on the man's head reinforces that Emporer Kuzco does not care about others
II. Bending the laws of newton's second law, playing with the forces and resistance of objects
1. Bends for character delopment: large, peacock feather costume, fabric that behaves like a feather stiff but pliant. One material acting under the laws of another to illustrate his character as pompous and preening like a bird
III. law of newton's first law of motion
1. adheres: characters costumes and characteristics have realistic and appealing follow through
kusco's and pancha's wife earrings, Pancha's daughter's pigtails
story: uses path of action of a pendulum, to show peasant swinging in to save emperor Kuzco – he appears after the pendulum has reached its highest velocity, then misses and takes advantage of that slowing out time to increased the tension that Kuzco won't be saved from the jaguars
2. Bends: Ezma rockets down the hillside she picks up enough acceleration that when she lands in the middle of a children's party she stops unrealistically
IV. Not sure of the principle at work here, force pusing inward on itself, kuzco and pancha must use their legs to displace force of the canyon to create enough resistance to escape a canyon, this is the first moment that they work together instead of each being motivated by their own personal agendas – this use of extreme physics also comes into play at the climax of the movie when the pair must again use this technique to finally turn Kuzco back into a human