Lighting a Scene in Maya

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Science Fact or Cinematic Fiction?

Chinese kung fu movies are uniquely special in their action effects. Many of these action movies poke fun of Newton’s 3^rd law of motion to heighten the effects as well as highlight a characters strength and fortitude. A general example of this technique is a small person who is able to throw a punch with such great force, that it sends a larger person flying away without little or no reaction sent back to the deliverer. The directors and production crew implements this technique to exaggerate specific scenes, making the experience larger than life. Although this technique is usually implemented in kung fu fighting movies, there are examples that poke fun of Newton’s 3^rd law for comedy. Shaolin Soccer, directed by directed by Stephen Chow, is a movie about former Shaolin monks who implement their superhuman fighting techniques in soccer matches. The characters are able to send soccer balls flying at ridiculous speeds, exert large forces on massive objects without any reaction to themselves, and even stop greatly accelerated objects with no recoil at all. Since the action/reaction violation is consistent throughout the movie, it does not seem as far-fetched in the movie’s world. Rather than a violation of Newton’s 3^rd law, this movie pokes fun of the 3^rd law to highlight the comedic value.

Newton’s 3^rd law centers around the equilibrium between action and reaction. This law takes into consideration the force an object exerts on another, the reaction the second object exerts on the deliverer and the masses of both objects to come equate the acceleration that each will undergo. An example would be two people of different mass pushing upon each other; the small person would undergo a larger acceleration than a heavier person, but each would receive the same force. Mathematically, this would work as:

(action force of a small object) = (reaction force of a large object)

([lower mass]/[higher action acceleration]) = ([larger mass/lower reaction acceleration])

Even though the same law is violated within Shaolin Soccer, there are examples where the numbers in the equation are different. Nevertheless, the same law is still being eschewed for our enjoyment.

The first example involves two small masses, one of which produces a very large acceleration on the other, while there is little/no reaction back to the first object. The main character, “Mighty Steel Leg” Sing, kicks a soccer ball high into the atmosphere, with the ball maintaining a vastly long hangtime.

(0:08 – 0:30)

The objects at work in this scene are Sing’s leg exerting force against the soccer ball. (We will assume the mass of Sing’s leg to be relatively small compared to the possible force that it can produce) Although both masses are relatively small, Sing’s leg can produce incredible forces with a decently fast kick but with small amount of reaction back from the ball. To create such a kick in real life, Sing’s kick would need to accelerate at an equally high rate, and the reaction from the ball to the leg would also be just as strong from the leg to the ball. Another way to do this kick is to make the mass of Sing’s leg extremely large with enough acceleration to send a ball into the sky; although the acceleration would not have to be as great as it is on the ball.

(Sing’s leg/acceleration of the kick) = (soccer ball’s mass/acceleration reaction from the kick)

From the movie, the equation is as follows:

(small mass/fast acceleration) = (small mass/incredibly fast reaction acceleration)

Currently, the forces are unbalanced between each other. Sing’s leg is producing large forces from a normal kick without receiving an equal amount of reaction from the ball. To make this scene true, the acceleration and reaction would have to be increased, or mass of the leg would need to increase.

(small mass/incredibly fast acceleration) = (small mass/incredibly large reaction acceleration) or

(very large mass/fast acceleration) = (small mass/incredibly large reaction acceleration)

But the scene breaks Newton’s 3^rd law in order to demonstrate how strong the main character can be. It is also acts as a challenge to Sing, as he would need to control his strength in order to help his teammates in the long term.

Another example within the movie demonstrates how a person of small mass can exert a large amount of force without much effort on an object of larger mass while producing very little reaction. The character and love interest to Sing, Mui, displays an unusual way of parallel parking as she shoves her car into her parking space.

There is a considerably big difference between masses, as Mui’s mass is greatly small compared to a car. Despite the difference, Mui is able to deliver a force so large on the car that she is able to shove it using a normal push. Also, there is little reaction sent back to Mui, as she would either fly back from the recoil or sink into the concrete if she braces herself. The physics equation of this action is as follows:

(Mui’s mass/acceleration of the push) = (car’s mass/reaction acceleration from the push)

(small mass/fast acceleration) = (large mass/fast reaction acceleration)

The equation does not equal out, as Mui would need to greatly increase the force of her push upon the car, or the car’s mass would have to be at most generally equal to Mui’s mass for her to maintain her posture through the push. To make this scene physically true, the equation would need to work out as such:

(small mass/incredibly fast acceleration) = (large mass/fast reaction acceleration), where as Mui’s shove accelerates at superhuman speeds as she takes just as much reaction force from the car, or

(small mass/fast acceleration) = (small mass/fast reaction acceleration), where the car’s mass was originally small or it has magically lost a great percentage of its mass as she pushed it.

This scene shows comedic style because in no way can a small woman shove a as the movie portrays. But this scene ties in throughout the movie as it is another instance of how Newton’s 3^rd law was intentionally broken to make a small character appear grand.

One last example of equal and opposite action/reaction equation is during the final soccer play where the Shaolin soccer players go against a genetically enhanced team. Sing kicks the soccer ball with such force that it causes ripples on the field as the ball flies above, but it is caught by the opposing team’s goalie, Team Evil’s Goalkeeper, with very little reaction acted upon the goalie.

(0:00 – 0:20)

(soccer ball’s mass/incredibly fast acceleration) = (goalie’s mass/little or no reaction acceleration). As seen in the video, the goalie’s posture is unaffected by the force of the soccer ball. It seems the only reaction enacted upon the goalie would be the friction from the ball as his hands come into contact with it. Notice the grip and placement of the goalie’s hands as he catches the ball. His hands are shifted more towards the sides, rather than placed more forwards towards the ball.

To make this scene believable with real physics, the goalie would need to recoil backwards as the ball contacts his hands while his own forces reacts with the ball and sends it flying in the opposite direction, although the goalie would not accelerate as fast as the ball does as his mass is greater. Another method is to have the goalie’s mass increase to withstand such a force from the soccer ball, that the reaction acceleration would be very small. The equation would work out as follows:

(small mass/incredibly fast acceleration) = (large mass/near fast reaction acceleration) where the goalie is applicable to Newton’s 3^rd law of motion as he is sent flying backwards and his reaction to the soccer ball sends it flying away from him, or

(small mass/incredibly fast acceleration) = (very large mass/very small reaction acceleration) where the goalie’s mass magically increases as he becomes a wall-like obstacle towards the ball.

This scene violates Newton’s 3^rd law so it can demonstrate the superior advantages the genetically enhanced team has over the Shaolin-trained soccer players. Although the final soccer match has a more serious tone, the play of equal and opposite action/reaction remains consistent and ties in nicely with the rest of the movie.

Director Stephen Chow artistically ties in the stylized action physics, which is exercised in many Chinese kung fu movies, and implements it for comedic use. Mainly used to exaggerate a scene or person, the deliberate play of Newton’s 3^rd law is a great way to make a character appear superhuman. By combining two vastly different disciplines, Shaolin kung fu and soccer, Chow combines the two in a manner that both are compliments to each other, rather than forcing kung fu into a soccer movie or a soccer movie with kung fu in it. Even though the play of momentum conservation is unbelievable in the real world, the consistent violation of the law makes it believable within Shaolin Soccer’s world.

-note to the teacher:

I changed the topic and outline of my essay since it was very unclear with its direction and objective. First, I mislabeled some of my examples under the blanket of Newton’s 3^rd law of motion. Second, it was difficult reworking the direction of the paper, so I just decided to rewrite the outline. I’m not sure if you want me to post the rewritten outline, but I can if you want it.

Outline for the Second Term Paper

Main physics violation(s): action/reaction during fights and jumping scenes
-unequal forces of impact on different subjects
-impossible exertion of force on an object
-even timing when things take off in the air

I. Intro:
Unreal kung fu physics
-playing with newton’s third law –action/reaction
-setting is set with real world physics, but some characters can “bend” those laws
-crouching tiger – concentrate on jumping
-kung fu hustle – concentrate on fighting scenes
-kill bill – fighting scenes
-shaolin soccer – not all kung fu movies are violent, concentrate on kicking action/reaction
-thesis

II. physics prep.
-newton’s third law, explanation
-different applications: how it is used in fights and jumping
-common violation of newton’s third law in many Chinese/ asian films

III. crouching tiger
-jumping scenes
-impossible exertion of forces
-equal timing during slow in and slow out

IV. kung fu hustle
-fighting scenes
-unequal exertion of forces i.e. punches can send a person flying feet away
-kung fu physics ignores mass in the equation i.e. great punches from small people

V. kill bill
-fighting scenes
-unequal exertion of forces
-equal timing when jumping, some instances of believable timing with falling

VI. shoalin soccer
-soccer training/playing scenes
-impossible exertion of force on a soccer ball

VII. conclusion
-restate points
-restate thesis

Mid-semester Survey.

"This is to certify that I completed the anonymous mid-semester survey for Art/Physics 123 and am requesting the five points of extra credit.

As a student at San Jose State, I understand the university's Academic Integrity Policy (http://info.sjsu.edu/web-dbgen/narr/catalog/rec-2083.html)."

stop motion animation

70 frames

analysis of walking: 5 clips

Matrix: the program of physics

The Matrix movie, directed by the Wachowski brothers, gives a fantastic view of how people endowed with special abilities can bend the rules of physics. Although the Matrix, which is a simulated recreation of 21st century Earth, enforces the same laws of physics very much like our own, there are few who were granted or have gained access to admin-like control over the program. This enlightenment, of sorts, offers abilities to move faster than bullets, jump incredible heights and distances, and even break through objects with ease. Because the Matrix is merely a program to simulate physical reality, it is not immune to the manipulation and exploitation of the program’s coding which results in the fantastically flashy abilities. As with many movies, directors use seemingly impossible feats to capture the audience’s interest. By convincing the audience of this alternate take on reality through the suspension of disbelief, the audience accepts the bent physics within the movie’s world as truth. It is a coy device that helps to move a story in a very interesting and enjoyable manner. But how much leeway to the movie’s bent physical laws should be allowed before the amazing movements and feats become an obvious director’s ploy to heighten a scene’s action? Although the audience is allowed to believe that the characters within the Matrix can bend the laws of physics, there are examples where the director shows an obvious favor of movie magic as opposed to holding some truth in the physically impossible.

There are many examples in The Matrix of how the main characters bend the laws of physics to their own needs. Even through the Matrix is a program intended to completely simulate our world, including the laws of physics, these characters are able to take what is seemingly intangible and make it a malleable force. Bullet time, the ability to perceive with a heightened sense of speed and move accordingly as such, allows the character to forego the body’s physical limitations of how fast a person can move. Laurence Fishburne’s character, Morpheus, describes this ability within the movie: “Men have emptied entire clips at them and hit nothing but air. Yet their strength and their speed are still based in a world that is built on rules. Because of that, they will never be as strong or as fast as you can be.” A scene that highlights this ability, which is near the movie’s conclusion, involves the main character, Neo played by Keanu Reeves, in a shoot out with one of the main antagonists, Agent Jones.
Neo takes three seconds to fully unload his gun’s ammunition, but when shot upon, his heightened senses seemingly slows down time to the point where an Agent takes twenty full seconds to fire eight bullets upon Neo. Air resistance, which assists in the slowing out of object in the real world, is negligible when applied to Neo and the agent. Bullets shot at Neo are clearly affected by air resistance, as seen with the rippled trail in the air left behind by the bullets. Yet even though Neo’s body and arms are moving just as fast, if not faster than, the bullets shot at him, he does not leave a trail that is shown by the bullets. The physical truth presented in the Matrix is that very fast objects leave ripples in the air when affected by air resistance. This implies that air resistance is an insignificant factor in bullet time, or that the director chose to negate this factor to highlight the bullets path of action or to make sure that Neo’s movements can be clearly interpreted without any interference.

The falling dynamics are also skewed in an unbelievable manner to flourish the movie’s action. A specific scene involves Morpheus and Neo leaping great distances across building tops, with Neo falling off the building from an unsuccessful attempt.
There are many instances within this one scene where the director chooses to take artistic creativity and alter the physics within the scene. Specifically, the timing it takes Neo to fall from the building is wrong. For some background information of this scene, the setting is based off of Sydney’s downtown area, around the uniquely designed Met Centre building visibly seen in the shot. In reality, buildings adjacent to the Met Centre are approximately 40 stories tall, so it is safe to assume that Neo is jumping across 40 story tall buildings.


The movie shows Neo falling for 7 seconds from a 400 foot building, with 24 frames per second as the movie’s film speed. By inserting the measurements to find the appropriate distance traveled to the equation (distance in inches) = (1/3 in) * (number of frames) * (number of frames); we get 9408 inches = (1/3 in) * (24x7) * (24x7). In this equation, Neo would have traveled much farther than displayed on the movie; this is the time it takes to fall from about an 80 story building. To correct the equation, Neo would need to fall for approximately 5 seconds if he were to leap off a 40 story building; 4800 inches = (1/3 in) * (24x5) * (24x5). Although air resistance, the time it takes Neo to reach the apex of his jump before falling, and the position of his body as he falls all play a factor to how fast and how long he travels, the two seconds between the time is far too big of a factor when calculating those variables into the equation.

A very obvious play on the physical impossibility in the same scene, and repeated throughout the movie, is how acceleration is portrayed. Morpheus shows an absurdly even timing as he lifts off from the edge of the building and the even tempo carries onto the very end of his jump. According to real physics, Morpheus would slow into his jump’s apex and then slow out as he lands. But because of the even timing with his take off and landing, the jump seems much less convincing with its untextured timing. For Morpheus to jump as far, let alone as high as he did, he would need a massive net force to send him into the air.

To find the force of Morpheus’ jump, with a push height of six inches and a raising height of about 40 feet, averaging his weight to be 200 pounds, the measurements would fit into the calculation (jump force) = (jumper’s weight) * (jump height/push height); (jump force) = (200 lbs) * (40 feet/.5 feet). This would conclude that Morpheus has a capable jump force of 16,000 pounds per square foot. Conversely, an average male of 160 that can jump 18 inches would be (jump force) = (160 lbs) * (1.3 feet/.5 feet), which would be 416 pounds per square inch. With Morpheus having so much jump force, his acceleration would definitely not be as even as it was portrayed in the movie; rather, his take off would consist merely of a few frames at best. But because the directory must take into account the audience, movie magic must come into play so the viewer can easily see Morpheus’ path of action and to appreciate the amazing feat of such a leap.

Path of action is another target to the Matrix’s law-bending physics. The iconic lobby shoot out scene is an impressive depiction of editing, special effects, and stunts that all cumulates into an exciting fight scene. Of course movie magic plays a major role to heighten the amusement.

With all the flipping and jumping that the actors perform, there are two examples in this scene that pokes fun of path of action. The first is with Carrie-Ann Moss’ character Trinity, who runs along a wall and then happens to jump to the side without any forward momentum, 1:20 - 1:25. According to Newton’s Law of Inertia states that an object will continue to move in uniform motion unless acted upon by an outside force. Trinity needs enough momentum to gain stability and balance to run along a wall. Although she does skillfully avoid an onslaught of bullets, she also avoided Newton’s inertia law. Despite Trinity having evaded to her side, would still be traveling forward and to the side instead of only traveling perpendicular to the wall. Neo is not without blame in this scene as well, 2:47 – 2:52. Even though Neo obtains enough forward momentum towards the guard, he is able to descend perfectly vertically without having to trip over the fallen body. It is as if he had come to an invisible wall in front of him during his jump. It is quite obvious that the director intentionally skewed the appropriate arc paths to so highlight the actor’s performances.

The Matrix is a fun and exciting movie that allows the audience to view the world as an entire playground –filled with the possibilities to change and adapt at a whim. The director can convince select viewers of the whimsy and fanciful abilities that the actors portray. Through the suspension of disbelief, we can believe that in this Matrix world, these characters are able to defy the laws of physics, they are able to free their bodies and minds to physical limitations, and the powers they control transcend any mortal understanding. Yet even though these characters are breaking physical limitation, there are still many more laws that must be abided to make their powers realistically convincing. Despite this irking problem, the director did choose the best artistic direction to make this movie visually clear and entertaining.

outline

What to cover
-movie: The Matrix
-movie magic & how it concerns physics
a. jumping across buildings
b. various falling scenes
c. maybe cover bullet time?
d. various physics errors to prolong/hype scenes

I. Matrix – physics in a simulated world
a. gravity still functions naturally in the Matrix (if it were real)
b. certain being that are able to bend laws of physics
c. physics errors intented to hype a scene and bullet time
d. thesis statement
-things to include in the thesis- Although we are led to believe that the various characters can defy the laws of physics inside the Matrix, but there are examples where the director uses bad physics to milk a scene

II. how physics is applied to the main characters in the matrix
a. bullet time – the body moving just as fast, if not faster, than bullets
b. characters able to jump across building tops
c. flashy fighting/jumping scenes

III. Movie magic applied to the matrix
a. even rate of acceleration applied to a jump
b. miscalculated timing on a fall
c. various paths of actions make no sense

IV. world outside of the matrix program
a. flying hovercrafts, powered by electro magnetism?
b. Levitating robots, no real indication of how it achieves flight

V. conclusion
a. reiterate main points
b. restate the thesis

rotation illusion!

hi prof.
i was looking for an example of what you were talking about with the wheelwagon wheel illusion, it was still kind of fuzzy to me. this would be a good one, right?

Video analysis of path of action

videos are 30 fps

5 ref. jumps


ref. jump


plotted jump


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on a side note, this one was tough to figure out, even with the instructions. it must be my comp, cause i couldn't seem to save the jump as a .mov straight from tracker. instead, i had to save as a gif, then convert that to a .mov (hence why the ref jump and plotted jump is in bad quality)

tracker!

this was tough figuring out how to work this program.
i tracked the top of the ball.

ball bounces

30fps!

about!

hi, i'm eric.
currently a student at san jose state, working towards a BFA in animation/illustration. Drawing became a hobbie of mine, which turned into a career goal after a talk from sjsu alum robert mackenzie during my high school's career day. i feel that i have learned much through my studies with sheldon, john, bunny, jules, and cameron, but i'm more determined and ambitious to continue my growth in this field. what attracts me most about animation, or good art in that matter, is story-telling and imagination through learned principle and foundation, without being a slave to formula and procedure.

maya room model

figures