Character and the Fingerprint Of The Artist
Andrew Osmond of AWN interviewed some principals in 'Wallace & Gromit: Curse of the Were-Rabbit'.
These are the bits that stuck out most to me:
>>Lloyd Price (Supervising Animator):
The performance comes from talking to the directors, and acting out things yourself to get the subtleties of the performance. You're trying to get the shots right first time, first take. To be honest, the animation process is almost secondary. When you're slogging through 10 hours a day, moving a stop-motion character incrementally, what you're always holding onto is: What's the feeling? What's the emotion? What's the character doing? When you know what you're going for, that's when it'll flow, and the eyes will widen at the right moment and all of that.
The most interesting to me is the polar oposite aproach to 'smoothness' in W&G compared to Corpse Bride. In CB the idea was that audiences are so used to the bar set by smooth (sometimes underwateresqe!) animation that the style (especially facial) needed to be as close to that CGI slickness. Now dig what the DP of 'Wallace & Gromit' has to say about their film:
>>Dave Alex Riddett (Director Of Photography):
When we shot Chicken Run, we were over-precious about the detail of the characters, which were very slick and smoothed down. This time we've deliberately gone back a stage, because we realized that a lot of the charm lies in that handcrafted look. You can see that chunkiness about the textures, the fingerprints in there. In the past, we might have used the lighting and the post-production to smooth things out or cover up cracks, but now we revel in it. Unless it's distracting, we allow it to be there, as part of the look.
You can read the whole article from AWN HERE:
These are the bits that stuck out most to me:
>>Lloyd Price (Supervising Animator):
The performance comes from talking to the directors, and acting out things yourself to get the subtleties of the performance. You're trying to get the shots right first time, first take. To be honest, the animation process is almost secondary. When you're slogging through 10 hours a day, moving a stop-motion character incrementally, what you're always holding onto is: What's the feeling? What's the emotion? What's the character doing? When you know what you're going for, that's when it'll flow, and the eyes will widen at the right moment and all of that.
The most interesting to me is the polar oposite aproach to 'smoothness' in W&G compared to Corpse Bride. In CB the idea was that audiences are so used to the bar set by smooth (sometimes underwateresqe!) animation that the style (especially facial) needed to be as close to that CGI slickness. Now dig what the DP of 'Wallace & Gromit' has to say about their film:
>>Dave Alex Riddett (Director Of Photography):
When we shot Chicken Run, we were over-precious about the detail of the characters, which were very slick and smoothed down. This time we've deliberately gone back a stage, because we realized that a lot of the charm lies in that handcrafted look. You can see that chunkiness about the textures, the fingerprints in there. In the past, we might have used the lighting and the post-production to smooth things out or cover up cracks, but now we revel in it. Unless it's distracting, we allow it to be there, as part of the look.
You can read the whole article from AWN HERE:
posted by Tennessee Reid at 6:03 AM
0 Comments:
Post a Comment
Links to this post:
Create a Link
<< Home