tag:blogger.com,1999:blog-71415392175911697352024-03-23T17:17:14.341-07:00Yellowbird... a director's journeyA behind the scenes look at the work and artistry of TeamTo's first animated feature film Yellowbird, from its director Christian De Vitastoryboardistahttp://www.blogger.com/profile/00978633129448119706noreply@blogger.comBlogger23125tag:blogger.com,1999:blog-7141539217591169735.post-89456366730387481012015-11-05T06:07:00.000-08:002015-11-05T06:07:43.568-08:00ANIMATION- part I<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Finally we arrive at animation!</span></span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: "georgia" , "times new roman" , serif;">As soon as our models and rigs where ready to test, our animators, lead by the indefatigable <a href="http://www.imdb.com/name/nm2982047/" target="_blank">Michel Rainbaud</a>, started testing them.</span></span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: "georgia" , "times new roman" , serif;">We test the models for a number of different reasons: to find what faults there may be and how to fix them; to find the limitations of the model; to find the style of animation we want for the project; to find the essence of the character's personality.</span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: inherit;"> <span style="font-family: Times,"Times New Roman",serif;"> Below Michel with the team working on the Yellowbird animation</span></span> </span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: "georgia" , "times new roman" , serif;">This last one is of most importance as each character has to have an individual and different personality, mannerism, timing.</span></span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: "georgia" , "times new roman" , serif;">It is from the actor's voice recordings, the director's brief, the reference collated that we build the springboard from which each character is borne... But it's from the animator's creativity and skill that it truly comes alive.</span></span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span>
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Yet each animator needs to follow certain rules and briefs (both technical and creative) or we risk having characters move in similar ways, or gesticulate in similar ways, feel and look the same.</span></span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: "georgia" , "times new roman" , serif;">This is why we try and avoid generic gestures and try and impose an individual mannerism to each character.</span></span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: "georgia" , "times new roman" , serif;">At times characters in films are given to individual teams of animators, each team animating only one character throughout the movie in order to keep it consistant throughout. Yet this is time consuming and costly, so generally every animator will have chance to animate most characters and situations, whether they'd be an action scene, an emotional one, or even a crowd shot or generic character scene.</span></span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: "georgia" , "times new roman" , serif;">This variety of situation relays heavily on the animator's ability to be versatile and to understand swiftly each character, and to follow the briefs given well, while adding their own verve.</span></span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: "georgia" , "times new roman" , serif;">I had one main rule for Yellowbird: if it makes me laugh it's going in!</span></span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span>
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Within the parameters of the style I set, I wanted each animator to have fun, to explore the cartoony possibilities when possible, yet remain within the anti-anthropomorphic rules we had set early on.</span></span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: "georgia" , "times new roman" , serif;">Animals should move like animals, we should strive for realism but mix this with good old fashioned cartoon animation.</span></span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: "georgia" , "times new roman" , serif;">For this we needed models and rigs that allowed us to push the extremes when needed, but also responded well to life like bird movements.</span></span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><br /></span></span>
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: "georgia" , "times new roman" , serif;">A great help came from the ornithologist Guillem Lesaffre, who advised us on bird behaviour as well as the skeletal and anatomical construction in order to design and build models and rigs that reflected well how birds move in real life.</span></span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: "georgia" , "times new roman" , serif;">A lot of what Guillen taught us influenced the models and their movement, which mixed with my briefs, and the odd video illustrating how I'd want a character to move, act, how their mannerisms should be, gave the animators all they needed as a springboard to produce some of the finest animation TeamTo has created to date.</span></span><br />
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<span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: "georgia" , "times new roman" , serif;"><span style="font-family: Times,"Times New Roman",serif;">Below you'll see some of the early animation tests, testing rig and movement and also aimed at giving some personality to the characters at the start of the animation process.</span> </span></span></span></span></span></span></span></span></span></span></span></span></span></span></span><br />
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storyboardistahttp://www.blogger.com/profile/00978633129448119706noreply@blogger.com0tag:blogger.com,1999:blog-7141539217591169735.post-84654350162325876822015-11-05T03:41:00.000-08:002015-11-05T05:37:40.641-08:00Yellowbird models<div dir="ltr" style="text-align: left;" trbidi="on">
A little insight into the 3D models of the film<br />
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: Georgia,"Times New Roman",serif;">And a little animation test... Enjoy!</span></span><br />
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storyboardistahttp://www.blogger.com/profile/00978633129448119706noreply@blogger.com0tag:blogger.com,1999:blog-7141539217591169735.post-35080768666101296972015-10-12T05:50:00.002-07:002015-10-12T05:50:35.919-07:00Some Yellowbird storyboards!<div dir="ltr" style="text-align: left;" trbidi="on">
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storyboardistahttp://www.blogger.com/profile/00978633129448119706noreply@blogger.com0tag:blogger.com,1999:blog-7141539217591169735.post-71284273253326671102015-07-27T05:15:00.003-07:002015-07-27T05:15:32.274-07:00YELLOWBIRD out on DVD!!!!<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Georgia,"Times New Roman",serif;">Hello all,</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>
<span style="font-family: Georgia,"Times New Roman",serif;">and apologies for the huge delay in delivering a new post- work has been hectic in the past weeks and there have been plenty of </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">adventures at animation festivals, and lots of exciting news.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>
<span style="font-family: Georgia,"Times New Roman",serif;">None more exciting than the DVD release of the film.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>
<span style="font-family: Georgia,"Times New Roman",serif;">After a poor distribution plan, by the powers that be, there have been a few countries that have missed out on a theatrical release. </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">The UK was one which I particularly ached about. There will be no cinema release for the film there, and I am still baffled as to why that is.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>
<span style="font-family: Georgia,"Times New Roman",serif;">Yet the great news is that TODAY sees the release of the film on DVD and you can find it on Amazon for example.</span><br />
<br />
<span style="font-family: Georgia,"Times New Roman",serif;"><a href="http://www.amazon.co.uk/dp/B00XY6WCF8/#_swftext_Swf" target="_blank">Yellowbird @ AMAZON</a> </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>
<span style="font-family: Georgia,"Times New Roman",serif;">or copy/paste the link below</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>
<span style="font-family: Georgia,"Times New Roman",serif;">http://www.amazon.co.uk/dp/B00XY6WCF8/#_swftext_Swf</span><br />
<br />
<span style="font-family: Georgia,"Times New Roman",serif;">Support your local wildlife- BUY Yellowbird! </span><br />
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storyboardistahttp://www.blogger.com/profile/00978633129448119706noreply@blogger.com0tag:blogger.com,1999:blog-7141539217591169735.post-85318773364071560052015-05-05T09:51:00.001-07:002015-05-05T09:51:24.967-07:00MUSIC... part I<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: Georgia,"Times New Roman",serif;">As luxuries go, being able to work the music into your film early on is probably one of the most important and rewarding.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">As the editing process commences early with the <a href="http://en.wikipedia.org/wiki/Storyboard" target="_blank">storyboards </a>and <a href="http://en.wikipedia.org/wiki/Storyboard#Animatics" target="_blank">animatics</a> we already have an ear as to what the rhythm and pace of a scene may be. This influences your music choice incredibly in terms of pace and speed, yet the main inspiration for the overall music style is the story itself. </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>
<span style="font-family: Georgia,"Times New Roman",serif;">I found myself looking at the characters and the story itself to find the emotional chore of everything and I tried to imagine a soundscape apt for my ideas. </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>
<span style="font-family: Georgia,"Times New Roman",serif;">Below is the original document I wrote explaining my first ideas, which was eventually given to <a href="http://www.imdb.com/name/nm0006339/" target="_blank">Stephen Warbeck,</a> the composer of the film before our first meeting.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">In it I try to explain my ideas, my vision for the music, the style the instruments used, and the emotional chore of the concepts.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>
<span style="font-family: Georgia,"Times New Roman",serif;">Beneath this I also include some input from Stephen himself, discussing some of the process behind creating the score of the film, with examples of the early demoes, and the finished music cues in order to see the progression from the early work to the completed pieces.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>
<span style="font-family: Georgia,"Times New Roman",serif;">Enjoy!</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>
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What follows is a small exchange between Stephen and myself as I try to understand his work process and how he arrives at the ideas that eventually create the final compositions...<br />
<blockquote class="western" lang="en-US">
<span style="color: #00000a;">
</span><span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: #00000a;">CDV-
</span><span style="color: #00000a;">Traditionally how does your work process
start?</span></span></blockquote>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span>
<blockquote class="western" lang="en-US">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: #00000a;">SW-
</span><span style="color: #00000a;">VARIES ALOT - SOMETIMES AT THE VERY END,
THE LAST PART OF THE PROCESS AND SOMETIMES AT SCRIPT STAGE……. </span></span>
</blockquote>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span>
<blockquote class="western" lang="en-US">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: #00000a;">CDV-
</span><span style="color: #00000a;">Where do you begin formulating the ideas
that will eventually blossom from a thought, a tiny melody, a demo
and then the full orchestration?</span></span></blockquote>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span>
<blockquote class="western" lang="en-US">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: #00000a;">SW-</span><span style="color: #00000a;">I
USUALLY FIND A PART OF THE FILM WHICH SPEAKS TO ME EMOTIONALLY AS MY
WAY IN TO THE MUSIC. THIS IS NOT USUALLY AT THE BEGINNING, AND NEEDS
TO BE OF MORE IMPORTANCE THAN A TRANSITION OR ACTION CUE. I WILL
OFTEN WRITE TWO OR THREE THEMES BASED ON THIS MOMENT OR SEQUENCE AND
THEN SEE WHAT HAPPENS IF I APPLY THEM TO OTHER PARTS OF THE FILM.</span></span></blockquote>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span>
<blockquote class="western" lang="en-US">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: #00000a;">CDV-
H</span><span style="color: #00000a;">ow </span><span style="color: #00000a;">w</span><span style="color: #00000a;">as
this process been different on Yellowbird, your first animated film,
if different at all?</span></span></blockquote>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span>
<blockquote class="western" lang="en-US">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: #00000a;">SW-</span><span style="color: #00000a;">THE
PROCESS WAS SIMILAR IN MANY WAYS ALTHOUGH THE DETAILS WERE VERY
DIFFERENT. IN THE CASE OF YELLOW BIRD, THE DEATH OF DARIUS WAS ONE OF
THE KEY EARLY PARTS I LOOKED AT AND THEN THE SEQUENCE WITH THE VERY
MISERABLE LONELY YELLOW BIRD ON THE ICE.</span></span></blockquote>
<span style="font-family: Times,"Times New Roman",serif;"> Below we have 3 clips from the same scene surrounding Darius' Death: the first is the animatic edited with temp music to match the mood and style wanted; this was then explored by the composer in the first demo produce (clip 2 already with pre-render animation) and developed into the full orchestral version seen in clip 3, with some pre-lighting pass on the animation.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: #00000a;"><br />
</span><span style="color: #00000a;">CDV-
</span><span style="color: #00000a;">What are you're starting points, and
where do you look for inspiration?</span></span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">
</span>
<blockquote class="western" lang="en-US">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: #00000a;">SW-
</span><span style="color: #00000a;">ONCE THESE FEW IDEAS, USUALLY DRAWN FROM
A SEQUENCE WHERE THE DRAMA IS MOST INTENSE, ARE ESTABLISHED, I WILL
TRY THEM IN OTHER PLACES. THE INSPIRATION IS ALWAYS THE FILM ITSELF
AND USUALLY PROVOKED BY EMPATHY WITH THE CHARACTERS.<br />
<br />
</span><span style="color: #00000a;">CDV-
As</span><span style="color: #00000a;"> a composer you have to have a pretty
varied and eclectic CV, yet you must have a musical 'style' is
specifically your own; does this come from your own sensibilities and
how you perceive each project, or do you try and focus more on a
films' style and apply your concepts onto these?</span></span></blockquote>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span>
<blockquote class="western" lang="en-US">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: #00000a;">SW-
</span><span style="color: #00000a;">PEOPLE WILL TELL COMPOSERS THAT THEY
HAVE AN INDIVIDUAL STYLE OR VOICE, BUT FOR US IT FEELS AS THOUGH EACH
PROJECT IS A NEW AND SEPARATE JOURNEY. I TRY TO FIND SOMETHING
INDIVIDUAL AND SINGULAR ABOUT EACH THING I WORK ON, WHETHER IT BE A
COLOUR, AN INSTRUMENT OR A TEXTURE.<br />
<br />
<br />
</span><span style="color: #00000a;">CDV-
</span><span style="color: #00000a;">The film's story contains some very
dramatic scenes, yet also very cute, funny and very child-friendly
scenes? How do you begin to work a sequence as dramatic as Darius'
Death, then move on to one as light and fun as the Paris scene? </span></span>
</blockquote>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span>
<blockquote class="western" lang="en-US">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: #00000a;">SW-
</span><span style="color: #00000a;">THESE TWO SCENES ARE GOOD EXAMPLES OF
DIFFERENT APPROACHES - THE DARIUS ONE BEING EMOTIONAL AND BASED ON
EMPATHY WHILE THE PARIS SCENE IS COMIC AND EVENTFUL. ONCE THE TONE
HAS BEEN DECIDED (IN CONSULTATION WITH YOU, THE DIRECTOR) A SCENE
LIKE THE PARIS ONE WILL NEED A TEMPO TO BE CHOSEN. THEN I WOULD OFTEN
TREAT IT LIKE A TRACK, OR A SONG, WITH A STRUCTURE LIKE A PIECE OF
POPULAR OR GYPSY MUSIC. THEN I WOULD BREAK IT UP AND RESTRUCTURE IT
ONCE WRITTEN TO FIT THE EVENTS IN THE SEQUENCE.<br />
<br />
</span><span style="color: #00000a;">CDV-</span><span style="color: #00000a;">
You joined the project pretty early on, as we were still in the
storyboard and animatic process; with the production lengths being
longer than a live-action one, did you find the longer process easier
to work with, or more tasking and stressfull? </span></span>
</blockquote>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span>
<blockquote class="western" lang="en-US">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: #00000a;">SW-
</span><span style="color: #00000a;">THE TIMESCALE DID NOT MAKE IT MORE
STRESSFUL. I FOUND IT SATISFYING THAT THERE WAS A CONSTANT EVOLUTION
OF FEEDING AND DEVELOPING IDEAS AND GRADUALLY SLOTTING THE MOCK-UPS
INTO THE CUTTING COPY.<br />
<br />
</span><span style="color: #00000a;">CDV-
</span><span style="color: #00000a;">Can you describe a typical working day? </span></span>
</blockquote>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span>
<blockquote class="western" lang="en-US">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: #00000a;">SW-
</span><span style="color: #00000a;">BREAKFAST, COFFEE, COMPUTER, WALK,
COFFEE, PIANO, LUNCH, COFFEE, MAKE MOCK-UPS, WRITE AT PIANO, ADJUST
CUES TO RESPOND TO NOTES FROM DIRECTOR. WINE, DINNER, BACK TO WORK
TILL ABOUT MIDNIGHT.</span></span></blockquote>
<span style="font-family: Times,"Times New Roman",serif;">Below the excerpt from the animatics of the scene which once was a dream sequence (as described in previous posts I deleted this scene and changed the idea to a solo scene in which Yellowbird witnesses the love between the members of the flock as he flies into the nest to sleep) and which became known as the desolation of Yellowbird.</span> <br />
<span style="font-family: Times,"Times New Roman",serif;">From the temp music used (from US band The Heart & The Thistle's song Rivers and Roads) I wanted a very melancholic feel to it, with lithe and ethereal vocals to it. As we could not afford the fee the US band requested Stephen wrote a new song swiftly, based on some lyrics I wrote, which then his daughter sang beautifully for the final version of the song.</span><br />
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<blockquote class="western" lang="en-US">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: #00000a;">
<br />
</span><span style="color: #00000a;">CDV-</span><span style="color: #00000a;">
Having worked on the film for such a period of time, able to view and
revisit some scenes more than others, how do you view the final cut
of the film now that it is complete, compared to your original
concepts?</span></span></blockquote>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span>
<blockquote class="western" lang="en-US">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: #00000a;">SW- </span><span style="color: #00000a;">I
WAS REASSURED THAT MOST OF THE FINAL CUES ARE EVOLVED FROM THE FIRST
IDEAS, ADJUSTED AND CHANGED BUT RARLY TOTALLY NEW. THIS TALLIES WITH
MY FEELING THAT FIRST RESPONSES CAN BE GOOD AND RIGHT.<br />
<br />
</span><span style="color: #00000a;">CDV-
</span><span style="color: #00000a;">As an animator and then storyboard
artist I always try to find the 'rhythm' of a scene even before music
is applied. All movement is rhythm, within a character's own actions,
and in the impact these actions have to the scene the character
interacts in and with. <br />
Does the application of this 'starting
rhythm' hinder your process or does it help find an avenue for your
ideas? </span></span>
</blockquote>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span>
<blockquote class="western" lang="en-US">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: #00000a;">SW-
</span><span style="color: #00000a;">ANY SEQUENCE OR SCENE WILL HAVE ITS OWN
RHYTHM AND ONE OF THE TASKS IS TO ATTEMPT TO FEEL THIS. IF IT IS
RIGHT, THE MELODY ETC. MAY BE LESS IMPORTANT THAN GETTING THE PULSE
CORRECT…...<br />
<br />
</span><span style="color: #00000a;">CDV- </span><span style="color: #00000a;">I
enjoyed the music process of the film extremely, as it was the first
time I had worked closely with a composer. I found excitment in all
the stages, from the first conversations, to the initial demoes, and
finally to the recordings of the soloists, the orchestra and final
mixes. I feel the music process had an impact on how I dealt with
some of the images and scenes, and looking back on this I think I
could in future try and begin the music stage even sooner. </span></span>
</blockquote>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span>
<blockquote class="western" lang="en-US">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: #00000a;">SW- </span><span style="color: #00000a;">I
TOO THOROUGHLY ENJOYED THIS COLLABORATION AND I WOULD SAY THAT THE
EARLIER THE COLLABORATION STARTS THE BETTER.<br />
<br />
</span><span style="color: #00000a;">CDV-
</span><span style="color: #00000a;">Is there anything in your experience you
feel you would do differently, or anything you may apply differently
if scoring another animated film? </span></span>
</blockquote>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span>
<blockquote class="western" lang="en-US">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: #00000a;">SW- </span><span style="color: #00000a;">I
FOUND THE PROCESS VERY SATISFYING, THE ONLY PROBLEM WAS THE
MONITORING IN THE ROOM WHERE WE LISTENED TO THE MUSIC - I WOULD IN
FUTURE TRY TO ENSURE BETTER CONDITIONS FOR HEARING THE
MOCK-UPS/DEMOS. ITHINK WE COULD HAVE TRIED TO MIX A COUPLE OF
SEQUENCES (LIKE THE PARIS CHASE/FIGHT SEQUENCE) IN A WAY THAT MORE
CLOSELY MATCHED THE ACOUSTIC OF THE GOGOL BORDELLO SONG.<br />
<br />
<br />
</span><span style="color: #00000a;">CDV-
</span><span style="color: #00000a;">What was your favourite experience on
Yellowbird? Favourite scene/moment?</span></span></blockquote>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span>
<blockquote class="western" lang="en-US">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: #00000a;">SW-
</span><span style="color: #00000a;">TOO MANY TO SAY - MAYBE SEEING THE FULLY
RENDERED IMAGES FOR THE FIRST TIME, SITTING ALONE VERY LATE AT NIGHT
WRITING YELLOW BIRD'S SONG, OUR MEETINGS IN PARIS.<br />
<br />
<br />
</span><span style="color: #00000a;">CDV-
</span><span style="color: #00000a;">And is there something specific you'd
like to add to the post about your work? </span></span>
</blockquote>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span>
<blockquote class="western" lang="en-US">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: #00000a;">SW- </span><span style="color: #00000a;">I
WAS ALWAYS IMPRESSED BY THE ACCURACY AND SPECIFIC NATURE OF YOUR
NOTES. I FELT THEY WERE 99% RIGHT, AND AS A RESULT THE PROCESS WAS
CONSTRUCTIVE AND POSITIVE, (TRYING TO MODIFY WORK TO APPLY A NOTE YOU
DON'T UNDERSTAND OR AGREE WITH, ON THE OTHER HAND, IS MASSIVELY
DIFFICULT).</span></span></blockquote>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span>
<div class="western" lang="en-US">
<span style="font-family: Georgia,"Times New Roman",serif;">……..LET'S WORK TOGETHER AGAIN! </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">------------------------------------------------------------------------------------------------------------------------------------------- </span><br />
<br />
<span style="font-family: Times,"Times New Roman",serif;">Below images and clips from the two recording sessions, one in London at Air Studios with the soloists, the other at Galaxy Studios in Belgium in a small town called Mol, near Bruxelles.</span> <br />
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<span style="font-family: Times,"Times New Roman",serif;"> There will be further music posts in the following weeks as we approach the animation process and final editing and mix processes.</span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">… Or how storyboard & editing combine to make necessary, yet
sad, cuts to the film.</span></div>
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</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">
One such necessity was a charming and funny scene between Karl and a
new character, the tarot card reading Astromancer and soothsayer
Nutria.</span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">
This was a difficult choice to make, as the scene and it's assets
where the first to go into production, therefore the model of the
character, </span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">props and the set were the first designs to be built and
to go through lay-out and then animation.</span></div>
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</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">
Yet when I was looking at ways to make the film shorter, and to
streamline the first act in order to make the flock take off for
their migration sooner, </span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">the Nutria scene started to look superflous.</span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">
It definitely helped establish Karl's character better, getting to
know his personality and motivation much earlier, but the information
the scene was passing to the audience could have been given in a
simpler and more straightforward way.</span></div>
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</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">
Nutria scene comes immediately after Karl finds out that Autumn is
coming and that the flock should start getting ready for the journey
ahead. </span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">Karl swoops to the top of the tree to have a brief chat with
Darius and ask why he's always the last to know these things. Darius
makes a little joke about Karl having a sixth sense, and he should
have known already.</span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">
This prompts Karl to go and visit the fortune teller, Nutria and have
his moss read, in order to know if the migration ahead will go well
for him. </span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">Nutria is played by the ever reliably funny Cedric
Yarbrough, who gives us a water rodent who's cunning yet appears
scatterbrained.</span></div>
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</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">
Their exchange is around 3 minutes yet to me remains one of the
funniest scenes in the film.</span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">
The decision to cut it from the final edit was necessary though as I
felt we need to push the main story forth more, and reduce the amount
of time between the flock realizing Autumn has arrived, and their
departure.
</span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">
As a 'road movie' we could not spend over 20 minutes of the film
still in the bird's home tree, we needed to get them up in the air.</span></div>
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<span style="font-family: Times,"Times New Roman",serif;">Below you can see the entrance to the set Nutria's Den, which is located under the tree in which the flock live, on an little isle in the middle of a stream. </span></div>
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<span style="font-family: Times,"Times New Roman",serif;">This was one of the first texture and light passes on the set.<br />As well as the set there is the colour model of Lucille, a tertiary character who comes to have her palms read after Karl has had his tarots read.</span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: Times,"Times New Roman",serif;">Below her you see Nutria's model: one of our few furred characters.</span></span></div>
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<span style="font-family: Times,"Times New Roman",serif;"> </span></div>
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<span style="font-family: Times,"Times New Roman",serif;">Here are a few clips showing the progression in the set lighting as well as the caustic pass, showing some light effect created to simulate the water </span></div>
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<span style="font-family: Times,"Times New Roman",serif;">reflecting on to the cave's walls.</span></div>
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<span style="font-family: Times,"Times New Roman",serif;">In the following clips you'll find my brief to the animators, a montage of some mannerism I wanted the character to have, one of our only characters who we allowed to move a little more anthropomorphically, with some references from various films: I wanted the character of Nutria to be natural animal movement combined with elements from Billy Crystal's crackpot soothsayer in The Princess Bride (copyright Act III Communications, Buttercup Ltd, </span><span style="font-family: Times,"Times New Roman",serif;">20th Century Fox), Italian comic Toto` in the film Miseria e Nobilta` (copyright Carlo Ponti, Dino De Laurentis, Excelsa Film) from director Mario Mattoli from omonimous Napolitan theatre play by Eduardo Scarpetta, and Warick Davis as Willow (copyright 20th Century Fox) attempting to perform a magic trick.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: Times,"Times New Roman",serif;"> The above clip is the second pass of the whole Nutria scene in storyboard format. As you can see the scene did not vary a lot from the rough storyboard drawings, with the animation blocking pass and some of the following steps in the previous clips.</span></span></div>
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storyboardistahttp://www.blogger.com/profile/00978633129448119706noreply@blogger.com0tag:blogger.com,1999:blog-7141539217591169735.post-91011003199389442352015-04-17T06:07:00.001-07:002015-04-20T08:13:09.725-07:00EDITING... part I<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Georgia,"Times New Roman",serif;">On an animated film editing is an often changing beast. </span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">As a story artist I often find myself being the first editor of a scene or sequence, <i>cutting </i>being one of the tools in the story artist's and storyboarder's kit. Yet being able to cut a scene, chose the best camera options, give a sequence pace and rhythm does not make a storyboard artist an editor.</span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">For that you need the ability to have an overview of the whole story, it's arch, the character's drives and motivations, track the emotional core of story and character alike, pulling, tugging, ordering and reordering, adding, taking away, shaving, trimming and at times roughlessly cutting away at what will eventually become the final film.</span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">Editors impose form, structure and logic and what they chose to take away is as pivotal as what they chose to keep.</span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">As director and main story artist on Yellowbird a lot of cutting and reordering was part of my daily work, from script to the voice recordings I often found myself trying to play around with the scenes, the order of dialogue, tease out the best possible scenarios, words, beats and gags.</span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">Yet I could not have done this, and the rest of the work without the aid of the wisdom and calming presence of my editor <a href="http://www.imdb.com/name/nm0023341/" target="_blank">Fabienne Alvarez-Giro</a> and the hard work of our first editor <a href="http://www.imdb.com/name/nm2433872/" target="_blank">Cedric Chauveau</a>.</span></div>
<div class="western" lang="en-US" style="margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">For those of you who don't know, in animation the editing of a film is done firstly on the <i>animatics</i>. </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">At its simplest, an animatic is a series of storyboard panels, edited together and displayed in sequence with rough dialogue, at times recorded by the storyboarders themselves as the actors have not been involved yet, and/or rough soundtrack added to the sequence of still images to test whether the sound and images are
working cohesively and effectively together.</span></div>
<div class="western" lang="en-US" style="margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">A scene can be worked and reworked dozens of times, new voices added, lines of dialogue changed, then the actual actor's voices added; it is a very organic process and prone to many changes. </span></div>
<div class="western" lang="en-US" style="margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">The animatic process can be a fairly long one as each scene is slowly put together, through storyboards, then sound, then cleaner and clearer drawings, until a final cut of each scene and sequence is achieved and finally approved by all: director, producers, and even distributors and investors.</span></div>
<div class="western" lang="en-US" style="margin-bottom: 0.35cm;">
<br /></div>
<span style="font-family: Times,"Times New Roman",serif;">In the 3 images below you see screengrabs for the ToonBoom Storyboard PRO project of scene33 of the film.</span><br />
<span style="font-family: Times,"Times New Roman",serif;">Yellowbird arrives at a beach in Holland and is struggling with his conscience, his heart split between wanting to tell the flock and Delph the truth about his deceipt, and the blossoming affection he is starting to feel for Delph.</span><br />
<span style="font-family: Times,"Times New Roman",serif;"><br /></span>
<span style="font-family: Times,"Times New Roman",serif;">I previously edit all recorded audio performances by the actors into a sort of radio play, picking out of the numerous takes the ones I prefer, or go best together, in a fluid, rhythmic way even. Sometimes splicing together different takes of the same line to create the perfect one.</span><br />
<span style="font-family: Times,"Times New Roman",serif;"><br /></span>
<span style="font-family: Times,"Times New Roman",serif;">Once a scene's dialogue audio track is constructed we export the files as WAVS and import these into ToonBoom. The ability to use the audio when storyboarding greatly increases the power to find the <i>true </i>pace and rhythm in a scene: it is from the actor's performances that you find the character's true emotions and are able not only to draw the expressions and poses needed to emote these, but also to fit everything into a fluid rhythm.</span><br />
<span style="font-family: Times,"Times New Roman",serif;">I often cut to the rhythm within the dialogue, a rhythm created in assembling the recorded dialogue. This is a luxury that in live action you do not get, but in animation is absolutely necessary to grasp the accents needed to animate characters succesfully.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdlOUXk3EMHpGTgSNe4gSrYSYtma6_5_zMgPtcIWiL1BcJc6qkXZ8O8tbpkLiA6oJh85EgTh20vFJq_vLkXK9SRbxv_QMHtF-KJQghAAHNV-XVdZVWt5N6Uflj3yg6A8k77wILm1-pFfU/s1600/3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdlOUXk3EMHpGTgSNe4gSrYSYtma6_5_zMgPtcIWiL1BcJc6qkXZ8O8tbpkLiA6oJh85EgTh20vFJq_vLkXK9SRbxv_QMHtF-KJQghAAHNV-XVdZVWt5N6Uflj3yg6A8k77wILm1-pFfU/s1600/3.jpg" height="360" width="640" /></a></div>
<div class="western" lang="en-US" style="margin-bottom: 0.35cm;">
<br /></div>
<div class="western" lang="en-US" style="margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">It is only after the film is fully completed in an animatic form that lay-out, pre-vis and then animation can start. Storyboarding and editing these into a video-board is the cheapest and simplest option to see if the story and characters work as a whole. If these are not finalized you risk putting into animation scenes which may be cut later, and this is a producer's nightmare as the expense of a 5 minute fully animated and rendered scene greatly outways the cost of a 5 minute animatic.</span></div>
<div class="western" lang="en-US" style="margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">Though it is not only money that drives animated films to spend so long working on the storyboards and animatics: seeing the whole film as a storyboard on a screen, moving and with sound is the only way to judge if it works, and pursuing all the various avenues a scene, a character, a beat and the story can take is the only way to know if you have made the right choices.</span></div>
<div class="western" lang="en-US" style="margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">Fabienne helped me immensely in to finding out if the choices I had made were the right ones, and below she explains a little about her work on Yellowbird, and her experiences as editor.</span></div>
<div class="western" lang="en-US" style="margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">-------------------------------------------------------------------------------------------------------------- </span>
<span style="font-family: Georgia,"Times New Roman",serif;"></span>
</div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span>
<br />
<div class="western" lang="en-US" style="margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black;">FG-
I became involved in the project as it was half way through, which
was not a problem for me. On the contrary with a fresh look at the
story and characters, I was able to suggest improvements to certain
elements of the storytelling, some of which were taken into account. </span></span>
</div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span>
<br />
<div class="western" lang="en-US" style="margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black;">The
way I work is always the same for all the scenes: I first need to
understand its point, the psychology of the characters and the way
they interact along the way. Once I’ve immersed myself fully into
it, I feel at ease to breathe freely with the characters, to suggest
what I feel would work best in terms of scene construction and
rhythm, so that each scene can show its best colors. </span></span>
</div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span>
<br />
<div class="western" lang="en-US" style="margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black;">A
film has to be considered as a whole, even if that whole is made up
of multiple parts of various intensity and nature which must all
contribute to the overall narration flow. </span></span>
</div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span>
<br />
<div class="western" lang="en-US" style="margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"></span></div>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dyF8tb-jZUgwk10J2QL_XbqGE9J8Q-m2dvXuNjo6czGn9G5ctPJPYNEpJImdOOH66DWOVHO4DOAW8kc0Ecz-Q' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div>
<div class="western" lang="en-US" style="margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: Times,"Times New Roman",serif;">The above images and the excerpt of the animatic are storyboarded by the greatly talented <a href="http://julienperron.blogspot.fr/" target="_blank">Julien Perron</a>, who was introduced to me by one of my producers and is currently working at Illumination McGuff, Paris.</span></span>
</div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span>
<br />
<div class="western" lang="en-US" style="margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black;">CDV-
Your resume` is quite ecclectic, from documentaries to live action
films, TV series and animated features. Do you feel you bring a
particular style to every project you are involved in, or you adapt
to the style of the project and director.</span></span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span><span style="font-family: Georgia,"Times New Roman",serif;">
</span><br />
<div class="western" lang="en-US" style="margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black;">FG-
The directors I’ve worked with for many years tell me that they can
recognize my style. Though I could not define it, it may have to do
with the way I let the scenes breathe, my tempo and a kind of
classism. To work in all kinds of genre is never a problem, on the
contrary it’s quite refreshing to edit different types of programs
such as fiction, documentaries, advertising and animation. I feel
lucky to have that opportunity.</span></span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span>
<br />
<div class="western" lang="en-US" style="margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black;">However
I have to say that editing an animation film is always a unique
experience. My first time was with Didier Brunner who called me to
work on “the Legend of Kells”, and my first impression was to
think that there was little to none editing to be done on an
animation film.</span></span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span>
<br />
<div class="western" lang="en-US" style="margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><a href="https://www.blogger.com/null" name="_GoBack"></a>
<span style="color: black;">At the time I was far from imagining what
working on the «animatic» entices. An <i>animatic</i> is like
<i>pattern</i> to a couture dress, for an animation film, it’s the
backbone of all the animation work done on the film. I was far from
imagining how much freedom there is at that stage, where one can
modify a scene with a pencil, transform the background as if with a
magic wand, or modify a scene structure with a couple of sketches.
However once the scene is locked at the animation stage there is very
little room for change left. It’s always very exciting to have
that ability to change significantly the course of a movie, as we did
when we moved the “Christening” scene of Yellowbird in the
African tree, giving a more upbeat end to the movie thus giving more
sense to the whole adventure these birds had just been through.</span></span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span>
<br />
<div align="left" class="western" lang="en-US" style="margin-bottom: 0.35cm; orphans: 2; widows: 2;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black;">Yet my favorite scene in the movie is the one
set in the shipwreck. This entire sequence feels great thanks to the
perfect balance reached between its mood and its rhythm. </span></span>
</div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dyFZxwFWugfb1OPIu8aXGDsvyCHKqnlVdi7gM8dY20VQGzp649CUgIjo_wNTtQwsj1c7NgFXRsKwfDTCmIgRQ' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>
<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>
</div>
<span style="font-family: Georgia,"Times New Roman",serif;"></span><span style="font-family: Georgia,"Times New Roman",serif;">--------------------------------------------------------------------------------------------------------------</span><br />
<br />
<span style="font-family: Georgia,"Times New Roman",serif;">Here you find Fabienne's piece in French, its original form.</span><br />
<br />
<div class="western" lang="en-US" style="margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black;"><span lang="fr-FR"><i>Arriver
sur le projet en cours de travail ne m'a pas posé de problème
particulier. Cela m'a permis de jeter un regard neuf sur l'histoire
et les personnages et d'être en mesure de faire des suggestions pour
améliorer certains aspects de la narration. </i></span><i>Certaines
ont été retenues, d'autres non.</i></span></span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span>
<br />
<div class="western" lang="en-US" style="margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black;"><i><span lang="fr-FR">Pour
moi la méthode de travail, quelle que soit la scène, est toujours
la même: bien comprendre la situation, la psychologie des
personnages et les interactions entre eux au moment donné. Après
cette immersion, je me sens le plus libre possible pour
respirer avec les personnages et proposer tout ce qui me semble
judicieux en termes de construction et de rythme pour que
chaque scène donne le meilleur d'elle-même, quelle que soit
sa couleur.<br />
De toutes façons je vois toujours le film comme un
tout où certes se succèdent des parties d'intensité et de
nature différentes mais qui doivent toutes contribuer à leur
niveau au flux narratif global.</span></i></span></span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span>
<br />
<div class="western" lang="en-US" style="margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black;"><i><span lang="fr-FR">Des
réalisateurs qui travaillent avec moi depuis plusieurs années
disent qu'ils reconnaissent mon style. Je ne saurais pas bien
le définir mais c'est peut-être dans un rapport à la
respiration, au tempo et à une certaine forme de classicisme.
Passer d'un genre à l'autre ne m'a jamais posé aucun problème,
c'est une forme de rafraîchissement de l'expérience du
montage que de pouvoir l'exercer dans des domaines aussi
variés que la fiction, le documentaire, la publicité et
l'animation. Cet éclectisme est pour moi une chance.</span></i></span></span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span>
<br />
<div class="western" lang="en-US" style="margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black;"><i><span lang="fr-FR">Cependant
travailler sur un film d'animation est toujours une expérience
particulière. </span></i></span></span></div>
<div class="western" lang="en-US" style="margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black;"><i><span lang="fr-FR">La première fois qu'on m'a proposé de le fa ire
c'était lorsque Didier Brunner m'a appelée pour travailler
sur "Brendan et le secret de Kells" et ma première
réaction avait été alors de penser qu'il n'y avait pas de
montage sur un film d'animation (ou presque pas).</span></i></span></span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span>
<br />
<div class="western" lang="en-US" style="margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black;"><i><span lang="fr-FR">A
l'époque, j''étais loin d'imaginer ce que constitue le travail sur
un animatic, qui est le "patron" (comme en
couture) du film à venir et la référence pour tout le
travail d'animation qui va se faire ensuite. Loin
d'imaginer également de quelle liberté on peut profiter tant
que le travail en est à ce stade et que les modifications se font en quelques coups de crayon et permettent de transposer d'un
coup de "baguette magique" une scène d'un
décor à un autre ou de modifier sa structure avec une
grande fluidité alors qu'une fois que l'animation sera
lancée on ne pourra plus faire de changements qu'à la marge. Cela
donne toujours une sensation d'excitation et d'euphorie que de
pouvoir ainsi modifier significativement le cours du film,
comme cela a été le cas lorsque nous avons transposé la scène
du "baptême" d</span><span lang="fr-FR">e</span><span lang="fr-FR">
Yellowbird dans l'arbre africain et que nous avons ainsi
contribué à<br />
dynamiser la fin du film et à lui donner son sens
véritable au regard de l'histoire que venait de vivre cette
bande d'oiseaux.</span></i></span></span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span>
<br />
<div class="western" lang="en-US" style="margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black;">
<span lang="fr-FR"><i>Je pense que mon moment préféré du film est
tout l'ensemble de séquences du Shipwreck. Toute cette bobine est
particulièrement réussie du point de vue de l'atmosphère et du
rythme.</i></span><br />
<br />
</span></span>
<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>
</div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span></div>
storyboardistahttp://www.blogger.com/profile/00978633129448119706noreply@blogger.com0tag:blogger.com,1999:blog-7141539217591169735.post-21489634694176210362015-04-13T09:32:00.001-07:002015-04-13T09:32:22.036-07:00STORYBOARDS... part III<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: Georgia,"Times New Roman",serif;">In the coming days I'll be delving into the music of Yellowbird, talking with the composer Stephen Warbeck about his work process and the score of </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">our film, as well as opening the door to the animation and editing work of the film, where I have input from our main editor <a href="http://www.imdb.com/name/nm0023341/" target="_blank">Fabienne Alvarez-Giro</a> </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">(The Secret of Kells) a great lady of cool, calm attitude and sharp mind.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>
<span style="font-family: Georgia,"Times New Roman",serif;">Yet before we go and open that Pandora's Box few more storyboard samples before I start discussing animation.</span><br />
<br />
<span style="font-family: Georgia,"Times New Roman",serif;"> ---------------------------------------------------------------------------------------------------------------------------</span><br />
<br />
<span style="font-family: Georgia,"Times New Roman",serif;">Below you'll find the sequence in the film in which the flock arrives at the coastal resort of the Hotel Tree, run by the devious and conniving Owl, </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">voiced by the impeccably funny Elliot Gould, who sounds like he had a lot of fun with the character infusing him with a charming blend of wit and cheekiness.</span><br />
<br />
<span style="font-family: Georgia,"Times New Roman",serif;">I had a lot of issues getting this sequence to where I was content with it. Initially it was so overlong it stalled the film's story, yet we had a </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">and hilarious performance by Gould, and losing any of it seemed wrong somehow.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">I needed to boil down the scene and dialogue to the absolutely necessary story and character points, while retaining the scene's core </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">humour and jokes.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>
<span style="font-family: Georgia,"Times New Roman",serif;">The opening of the sequence is untouched, with the flock arriving as the mice who form the Hotel Tree staff, the Owl's minions if you will. </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">In the previous scene we see the flock approch the tree from afar, the camera behind them travelling towards the far away tree. </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">I opted then to cut to the mice at work to mark the end of that scene and the start of another, the simple cut away for one or two shots </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">is enough to establish this is a new scene, and to introduce swiftly another set of new characters.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>
<span style="font-family: Georgia,"Times New Roman",serif;">Putting the mice immediately at work establishes who they are in this new scene, and we immediately wonder why they are sweaping and</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"> cleaning the tree, and who they are.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>
<span style="font-family: Georgia,"Times New Roman",serif;">I trimmed some of the Owl's dialogue then from his introduction, keeping a few jokes about the fact that he's already conning the flock </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">into believing they arrived in Spain, and the funny interaction between him and the mouse, quickly establishing their working relation.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>
<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dwYSpzb3QEHEz_FFb6AjrfE6ajjbRkMELs16hJOZY9xVHgImz9d4Z1IKa1RZim0ekPW0gDmyJI6yH88-bBKog' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div>
<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>
<span style="font-family: Georgia,"Times New Roman",serif;">Then I opted to cut the presentation of the rooms, as I found this to be superflous and unnecessary, and as I started cutting I discovered </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">that we did not really need to find a real explanation or way to 'lose' the children from the following scene, as they did not need to be there, </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">chose to quickly see them jump into one of the nests/rooms and leave them there.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>
<span style="font-family: Georgia,"Times New Roman",serif;">They were superflous to the following scene, which originally was a dinner scene for the adults in the group, setting up the fact that we </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">wanted to have a 'bed time story' scene for the children later as a way to refresh the audience's memory of the <i>Iron Birds.</i></span><br />
<br />
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<span style="font-family: Georgia,"Times New Roman",serif;">In the first versions of the storyboard there was the added scene, prior to the dinner scene, between the Owl and the mice. </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">This was a way to reinforce the idea that the Owl was just out to con the flock out of their fee and to stress the relationship between </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">the Owl, a mean, unscrupulous hotel manager, and his lowly and humble workforce. </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">The important story point of the hotel being in Holland rather than Spain is hit on enough in the previous scene, and in the short scene </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">between Karl and a mouse so I felt this extra scene between the Owl and the mice was now unnecessary and, although very funny, </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">we cut it from the sequence.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">Then we come to the dinner scene which as lovely as it might have become, with the setting sun casting a warm light on the diners, </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">the mice playing a striking flamenco guitar, and the fireflies providing an intimate almost romantic lighting, was again too long </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">to fit into the sequence and film.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">It also slowed down the story too much so I decided to include the main story or character points of this scene and its dialogue, </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">into the previous and following scenes, by tweaking the lines to add the information needed to get these story points across: </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">reminding the audience that Yellowbird has no name, as we have an important scene between Yellowbird and Delf coming up, in which </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">this point is of main importance to the rest of the film's story.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;"> The following clip remained pretty much untouched, except for a tweak here or there. Yet once we went to lay-out then animation </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">we moved the cameras around as the set was built differently than previously planned. So the scene was re-storyboarded directly in lay-out </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">and pre-vis, rather than storyboarded one more time.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">I often treated the lay-out stage as another pass of storyboarding, once the 3D elements have been placed in the set it is easier to find out </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">if all of the shots work, if the distances in the scene, and the camera moves require more screen time, and if the rhythm of the scene </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">works as well now that it has the 3rd dimension added to it.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">This liberty to vary from the storyboard is more akin to live-action, where often you plan things in careful detail, then find yourself </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">improvising something new based on the fact that the set, or location, or actor is doing something which previously could not be planned.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;"> Below is the whole of the sequence in rough animation as it appears in the final cut of the movie.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">The temp music you hear in the storyboards is the Spanish-Guitar Flamenco piece <a href="https://www.youtube.com/watch?v=oTXa6FFnPI0" target="_blank">'a Malaguen' performed by Yannick Lebosse </a></span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">We used this as reference until our composer wrote something which fit the mood yet retained the ideas I had.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">For the storyboard panels of the part of the sequence where Karl confronts a mouse and extorts the truth of the Owl's deceit, and Yellowbird's </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">blunderous detour, see the boards below by the talented<a href="http://www.albanrodriguez.com/" target="_blank"> Alban Rodriguez</a>, and retouched by myself once the final cuts were made. </span><br />
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storyboardistahttp://www.blogger.com/profile/00978633129448119706noreply@blogger.com0tag:blogger.com,1999:blog-7141539217591169735.post-62175386987956910522015-03-06T09:09:00.002-08:002015-03-06T09:09:31.485-08:00CARTOON MOVIE 2015!!!<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: Georgia,"Times New Roman",serif;">We are very proud to announce that TeamTO just got the «<b>European Producer of the Year</b>» award at
<b>Cartoon Movie 2015</b>! The audience rewarded the studio for its work and engagement on our first feature film
<b>Yellowbird</b>.</span> </span></div>
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storyboardistahttp://www.blogger.com/profile/00978633129448119706noreply@blogger.com0tag:blogger.com,1999:blog-7141539217591169735.post-56574135599611844242015-02-24T11:47:00.003-08:002015-02-24T11:54:13.328-08:00STORYBOARDS part II<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Georgia,"Times New Roman",serif;">As the design team was picking up steam and churning out the fully fledged characters and environments, I started to work the script into storyboards, massaging the scenes I felt needed still some adapting for a younger audience.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">As I mentioned in a previous post, the project I stepped into was much darker and moodier than any usual children's film, and it was a general consensus that it needed lightening up. It needed some humour but also some heart.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">The main character was lacking likeability, and although he came across as vulnerable, you didn't warm to him yet. Rather than go through another script rewrite I opted to rewrite come of the passages with the storyboards.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">This is a standard process in feature film animation, especially if the budget allows to develop the story and rework the scenes a number of times until you find the perfect solution for all scenes.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">Obviously on a much smaller budget you don't have the finances to explore these different paths for lengthy periods of time, so you have to push hard to get the scenes you want, compromise a lot and at times settle for something you're not a 100% comfortable with, knowing you can tweak things in lay-out if needed.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">Animation is a very organic process, and with every step another layer is added to the film, but also you have the possibility to make changes as you go along. You may get a different idea further down the line, or there may be a technical reason why you can't achieve a concept you storyboarded. Or simply you don't have the finances to achieve that beauty shot you want.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">So your project grows and evolves and changes.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">I did not insist in super neat drawings for our storyboards. Time was of the essence and we had around 6 months to storyboard a whole movie, with some of the scenes to be reworked completely from the script version. </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">This is not an easy task, and after a month planning the scenes, a small team or artist joined the production, including Dean who I've already mentioned... The others I'll give a proper credit to in another storyboard post down the line; for now I want to concentrate on a few of the initial scenes I tackled.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">NOTE: The following passages and storyboards contain spoilers, so if you haven't seen the film and don't want to spoil it, look away now!</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">The first was the death of Darius, which wasn't the first scene I storyboarded as I took my time boiling down all the ideas I had for it, into a concise and effective scene.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">You'll see below 2 of the several versions we produced, this being a normal procedure... On <i>Fantastic Mr Fox </i>I storyboarded the death of Rat over 30 times, some with huge changes, some with minor tweaks, until we arrived at the final version. Seems I'm getting used to storyboarding detah scenes.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">The version above in storyboard format is the final version in the film, while below there are two videos. </span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">The video below is the first version of Darius death, which takes place in a thicket of brambles. In this version, upon finding Darius hurt,Yellowbird makes a stretcher and attempts to carry the injured Darius to his abandonded house. Yet in his clumsiness he knocks Darius off the stretcher and has a rock land on it instead, so he doesn't realise his mistake. He only comes back when he does.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">The rest of the family finds Darius and as they tend to him he whispers his last words. </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">As Yellowbird comes back on the scene the cats attack and there's a commotion with the birds throwing the tiny bird Fleck to and fro as he is unable to fly yet.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">I had several issues with this version, length being one of them.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">I did not want the birds to use their wings like hands, it was a very specific conscious decision to animate the birds like real animals, so although the throwing of Fleck could be achieve by using their feet I felt it was a superflous moment in the scene.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">Also I really wanted Yellowbird to witness the death of Darius and not be away for it. It was pivotal to his character that he witness the hurt and understood the pain, which would constantly throw in doubt his deceit henceforth.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">Also if he happened to come back swiftly as the cats attacked he may not even be aware that Darius was dead.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">The cat attack needed to be the catalyst for the flock leaving the scene of Darius' demise, they are forced to leave, so they have no time to counter Yellowbird's request that he lead them on the migration until they have already left.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">Finally I felt the Death of Darius needed to be treated with a sombre quiet respect, not a full action scene or comedy scene immediately after. </span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">The music plays a big part in the scene and I feel the composer, <a href="http://www.imdb.com/name/nm0006339/">Stephen Warbeck</a>, nails it here, and the following scene, which I'll talk about in a following post.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">In fact I'll discuss the music at length also, bringing Stephen into the conversation so we can talk through the working process of composing the score for the film.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">The storyboards below are from scene 38A, the Dream Sequence as it was known for a long long while.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">In fact it is not a dream sequence anymore, and as much as I like dream scenes I never felt this worked in the film. It was one of the moments in the script that stuck out like a sore thumb and my first instinct was to cut it all together. Yet I needed something to connect a scene on the beach in Holland between Yellowbird and Delf, where he tries to tell her the truth and fails, and the morning scene in which the flock is forced to leave in a hurry, being shot at by hunters.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">It took me a while to come up with a solution, and it was after one of my conversations with Stephen that I had the idea of a song, a mellow, sad song accompanying Yellowbird to his nest, as he sees the rest of the flock tucking in for bed; the mothers tucking in their children; the couples snuggling in together. These are the things Yellowbird misses and yearns for and the scene is a reminder of that to us, and a reminder to him that he should come clean and tell the truth.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">The idea came to me while having dinner in an Italian restaurant near Jacques Bonsergent, and lacking pen and paper I borrow a stilo from the waiter and drunkenly sketched it on the paper table mat under my plate (will scan and post this later on!)</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">As we're discussing musical scenes the final storyboard I'll show you the very first scene I storyboarded. I'm always attracted to musical scenes, often storyboarding a sequence with music in mind, or to music, by importing a track in Storyboard Pro. It helps me with rhythm and pace, esepcially the action scenes. I edited all the scenes with temp music, to give the composer an idea of mood and atmosphere, but also for pacing.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">This scene in the icefields of Greenland (Or Norway, not sure which one we settled on in the end) comes immediately after Yellowbird's confession, and outcast by the flock he trudges through the ice and snow aimlessly.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">Having been a huge fan of the<a href="http://www.superfurry.com/" target="_blank"> <i>Super Furry Animals</i></a> since the beginning I found the right track to temp this scene with the song <a href="http://grooveshark.com/#!/search/song?q=sarn+helen" target="_blank"><i>Sarn Helen</i></a> from their totally Welsh album<a href="http://grooveshark.com/#!/album/Mwng/307174" target="_blank"><i> Mwng</i></a>. Incidentally it means Roman Road, of which there are plenty in Wales and England... Us Romans we do get about!</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">For me the song captured Yellowbird's feelings completely and the jangly instrumentation reminded me so much of Ennio Morricone it just fit perfectly.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">The track obviously does not appear in the final film, yet the score from Stephen is infused with the same harrowing emotional punch.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">For copyright reasons I'm unable to play the Super Furry Animals song on the above clip, yet if you follow the link above or here to<a href="http://grooveshark.com/#!/search?q=sarn+helen" target="_blank"><i> Sarn Helen</i></a> you'll be able to listen to it as you watch the storyboard. I edited a short version of it which comprised of a reduced version of the opening 1 minute and 32 seconds, and the cut down version of the last 20 seconds, to make the track completely instrumental and eeire.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">Incidentally I'll soon be posting a full list of music which was used as reference, or inspired some of the music of the film, when I start discussing the music composition of the project.</span></div>
storyboardistahttp://www.blogger.com/profile/00978633129448119706noreply@blogger.com0tag:blogger.com,1999:blog-7141539217591169735.post-49385993630078652812015-02-13T04:33:00.001-08:002015-02-13T04:33:34.270-08:00COLOURBOARDS & MATTE PAINTINGS<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Georgia,"Times New Roman",serif;">Some images from the title sequence, the black and white rough storyboards with their fully coloured counterparts. We did a lot of 2D work in the film, simulating 3D environments that we could not have fully achieved in 3D due to our budget restrictions, yet the style of the film and its art fully complements the use of this more handcrafted look. </span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">The opening titles are the perfect example of where the use of 2D was well integrated in the overall movie.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">Above one of our flying images in full colour. This colourboard greatly helped us visualize some of the flying sequences in terms of light and mood, like in this case where the birds are flying upward out of a storm and into clear skies.</span><br />
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storyboardistahttp://www.blogger.com/profile/00978633129448119706noreply@blogger.com0tag:blogger.com,1999:blog-7141539217591169735.post-76670188173087485802015-02-06T06:42:00.001-08:002015-02-06T06:45:07.667-08:00LIGHTBOARDS part II<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black;">As promised here is a little insight into the work of a most talented artist, and overall supernice guy, with which I had the pleasure to work with on Yellowbird, and without whom the film would not have had such a succesful and unique visual style: <a href="http://romain-jouandeau.com/">Romain Jouandeau.</a></span></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black;"> And typical of Romain, he speaks of himself and his artwork in very modest terms, and allows his pieces to speak for him.</span></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black;">I shall do the same, giving you only the briefest of information of each artwork and allowing you to look through some of the most striking pieces Romain produced, conceptual work and lightboards, which are used to set the tone for the colour palettes and light indications to be followed in order to light each scenario.</span></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black;">The following pieces are but a few of the hundreds of works Romain, and all the artists on the film, produced in the 2 years he worked on Yellowbird.</span></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUZYBLgkzmjM6-Xg_-3chJI6wyo-Md42qHR4JTx7UYGyg3y51BH9ihN0mgAPNOzs54ucGrU1sgGXOn0RWODGCVNMK9pnxbNP3dV9WRtfEAYwfBH_aVb3mOV5pIIyfzVcSoDtL036l_0kY/s1600/SET_SKY_OVER_COUNTRYSIDE_S18_P130_PLANCHE_COLOR_V01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUZYBLgkzmjM6-Xg_-3chJI6wyo-Md42qHR4JTx7UYGyg3y51BH9ihN0mgAPNOzs54ucGrU1sgGXOn0RWODGCVNMK9pnxbNP3dV9WRtfEAYwfBH_aVb3mOV5pIIyfzVcSoDtL036l_0kY/s1600/SET_SKY_OVER_COUNTRYSIDE_S18_P130_PLANCHE_COLOR_V01.jpg" height="218" width="640" /><b><span style="font-family: Times,"Times New Roman",serif;"> </span></b></a><b><span style="font-family: Times,"Times New Roman",serif;"> </span></b></div>
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<b><span style="font-family: Times,"Times New Roman",serif;"><span style="color: black;"> Above the aerial shots of the French countryside painted by Romain for the musical scene at the end of the first act. I wanted to visualize the start of the journey in a fun, almost music video way, to skip through the traveling moment of the film with a lighter tone. We were lucky enough to have the <a href="http://www.gogolbordello.com/">Gogol Bordello</a> song Uma Menina, kindly offered by Eugene when I approched the band. It captured the free punk spirit, birds flying in the sky freedom, and earthy vagabond-like Balkan moods I wanted for the film's music perfectly. And the bird's eye view shots here were inspired by the work of photographer <a href="http://www.yannarthusbertrand.org/en">Yann Bertrand.</a></span></span></b></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black;">CDV-
When and how did TeamTo
approach you first to work on the development of the film? </span></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black;">RJ-
I knew corinne Kouper the
producer from before, we had already worked together on another
project.</span></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black;">CDV-
as an artist and designer you seem to have a pretty eclectic style,
not settling for one in particular but exploring various
possibilities. How did you come to the stylized designs for
Yellowbird and what made you focus into this direction? </span></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black;">RJ-
Though I always liked working in different styles, Yellowbird’s
style was rather new for me. By the way I was not the one who chose
to work with this style as Benjamin had already worked a lot on the
visual development of the film when I started. It’s actually the
result of a number of artists working on the design, the intentions
of the director etc...Little by little I think we evolved towards
something more physical in terms of lightning and textures than was
intended at first, still trying to keep that very specific “hard
edges” style.</span></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black;"><b><span style="font-family: Times, "Times New Roman", serif;">Below are some of
the conceptual artwork and lightboards painted by Romain for each of
the scenes of the film. Starting from the very first scene in which
Yellowbird as an egg falls out of his nest into the spring morning
French forest.</span></b> </span></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black;">CDV-
After the development of Yellowbird designs you went on to Computer
Games artworks. How would you compare the experiences in terms of the
artistic choices you make on both?</span></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"></span><span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black;">RJ-
These 2 genres are very
different indeed and going from an animated movie to a very realistic
video game was not easy, but that’s what makes this work
interesting. For Yellowbird the challenge was to make this style work
with no prior references to go by. It’s exactly the opposite when
you work using a realistic style, where you can always use the
reality which surrounds us as a reference. Nevertheless going from
one style to another is very gratifying, it opens doors which I did
not even know existed when you’re used to just working with the
same style. Even if the technical issues are different , the goal is
still the same, to tell a story while keeping a coherent world.</span></span></div>
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<span style="font-size: small;"><span style="font-family: Times,"Times New Roman",serif;"><b><span style="color: black;"> Here we see the arrival of Darius in to the abandoned Church, where he meets Yellowbird. I was inspired by the many derelict churches the French countryside has and, very similar to Italy especially after the Second World War, so many small villages that centred their life around the small church built before them, became ghost towns. I felt the setting was apt for the scenes involving Yellowbird meeting Darius, and Yellowbird taking over the leadership of the migration; there was something about the old ways fading away and passing, and the new way of life taking over that I felt was coherent to the setting and scenario, so the old abandonded church came as a natural choice.</span></b></span></span><span style="font-family: Georgia,"Times New Roman",serif;"></span>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black;">CDV-
Your involvement in the film was early on, how do you view the final
look of the film now that it is complete, compared to your original
concepts and designs for the film? </span></span>
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<span style="font-family: Georgia,"Times New Roman",serif;"></span><span style="font-family: Georgia,"Times New Roman",serif;"></span><span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black;">RJ-
I worked 2 years on Yellowbird which gave me the unique chance to see
the movie being done all the way to the end. I’m amazed to see that
my work really transpires in what can be seen onscreen. The 3D team
did an amazing work when you know how difficult it is to adapt 2D
images into 3D, and especially with a look such as Yellowbird’s.</span></span></div>
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<span style="font-family: Times,"Times New Roman",serif;"><b>Above the Paris scenario Romain loved so much. It formed the basis of our Paris scene, one of the funniest and yet touching moments in the film.</b></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black;">CDV-
What was your favourite
experience on Yellowbird? Favourite scene/moment?</span></span></div>
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There was really a great team
spirit in the studio during the whole time. No matter how many
problems we ran into, everyone was always very positive! </span></span>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black;">I
think that it can be felt in this very joyous movie! My favorites
scenes are probably the ones in Paris, set in my neighborhood in
Montmartre!</span></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black;">Even
if my natural inclination is to work in a more realistic style, I’d
love to have the chance to work again on a film such as Yellowbird!</span></span></div>
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<b><span style="font-family: Times,"Times New Roman",serif;">Starting with two of the shots in the opening title sequence, we see the talent and scope of Romain's work, able to translate my rudimentary briefs into full colour pieces that give all the departments all the information they need to create the shots. </span></b><br />
<b><span style="font-family: Times,"Times New Roman",serif;">I was especially keen on the shot of the raggedy boat on the small canal, which ends the title sequence, as its abandoned feel stirs up the same emotions felt in seeing little Yellowbird growing up without a nest, a family and his natural parents.</span></b><br />
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<span style="font-family: Times,"Times New Roman",serif;"><b>Two examples of the Twisted Trunk, the tree that is the house of our family, the main flock of birds we follow on their migration. </b></span></div>
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<b><span style="font-family: Times,"Times New Roman",serif;"> Arriving at the Hotel Tree was always an exciting scene for us, and voiced by Elliot Gould, the conniving Owl makes for the perfect comedy character to bring the third act to life. Initially it was my most problematic sequence as it slowed the main story down and the recorded dialogue was too long. I was faced with the impossible task of cutting Elliot Gould's lines down to about 50% of what he had recorded, yet still keep the narrative and, especially, the comedic genius, intact. On seeing the sequence again, I feel that the process of storyboarding and re-storyboarding the scenes was quite successful as the Owl lost none of his strong comedy beats, and still drove the story forward. Even cutting the dinner sequence out of the film (you can see Romain's take on the scene in the lightboard below) doesn't take anything away from the scene. </span></b><br />
<b><span style="font-family: Times,"Times New Roman",serif;">When working out what to keep and what to cut from the story or a film I follow one simple rule: if you need to bring your film down from 1 hour and a half to 1 hour and 15, or from 7 minutes to 5 minutes, it's all the same, regardless of how beautiful or striking a scene is,if it's not driving the narrative along you can do without it. If the scene is not giving you any important story points or revealing any pivotal character points then you should cut it. If you can say what you want in a simpler and more straightforward way then do without it. </span></b><br />
<b><span style="font-family: Times,"Times New Roman",serif;">It would be great to be able to do a 3 hour animated opus, but the truth is, after 1 hour in a cinema most children need at least a toilette break, or a snack or simply need an attention break... Some scenes become necessary cuts... And the dinner scene in the hotel tree was just that- I could say everything that 4 minute scene said in one new line of dialogue dropped in another scene. It may not have been as pretty, or as well choreographed, but it's functional, and at times that's all you have to do!</span></b><br />
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<span style="font-family: Times,"Times New Roman",serif;"><b>Finally we leave Europe and start venturing North... Following a leader who really doesn't know his bum from his elbow; never mind leading a flock through their migration. I was very clear on one aspect of the colour brief of the film, which all the artists like Romain took on board: as the flock progressed North I wanted to strip the film of its colour and its warmth. I wanted to start from the welcoming and familiar warm colours of the Autumnal French forest, reds, oranges and yellows, and journey to the cold blues and greys. Until arriving to the absence of colour... The cold whites of the Arctic.</b></span></div>
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<span style="font-family: Times,"Times New Roman",serif;"><b>The colour journey the flock takes is the emotional journey of Yellowbird, who accustomed to one way of life, accustomed to his small World withing the confines of the abandoned house he grew up in, accustomes to a life of safe and warmth unused to the uncertainties of real life, has no real connection to others. So little by little I wanted the film to visualize the removal of the comforts he knows, stripping away the warmth and emotion until he has to reveal himself, his true self, to everyone, coming clean and revealing all his lies. Only then he, and we, could journey back to the warm colours of <i>home... </i>In the flock's case, Africa!</b></span></div>
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<span style="font-family: Times,"Times New Roman",serif;"><b>And luckily artists like Romain helped achieve these themes and ideas. </b></span></div>
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storyboardistahttp://www.blogger.com/profile/00978633129448119706noreply@blogger.com0tag:blogger.com,1999:blog-7141539217591169735.post-88861243225868920082015-02-05T11:11:00.002-08:002015-02-05T11:11:15.345-08:00CHARACTERS part IV... DELF <div dir="ltr" style="text-align: left;" trbidi="on">
<div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">
Delf is the heart of the family. In her own terms a leader, taking
after her father Darius, the flocks elder, she educates the young
chicks in the ways of being a bird, of migration, opening their
senses to the World from a bird's eye view. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-ZEH7UI5E-gvRwpeN0MVV5OOKeHBqMUOiXM7tFfdeaBY848YL7iY44YNAdK_fqM_1YM5U0bRW71D6Lrt-521iIlgqI7cAsX1DOyfSIDuGYoNttrM07yus6-GZup7GvIOmTk7vjKHuAzQ/s1600/SEQ02_50.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-ZEH7UI5E-gvRwpeN0MVV5OOKeHBqMUOiXM7tFfdeaBY848YL7iY44YNAdK_fqM_1YM5U0bRW71D6Lrt-521iIlgqI7cAsX1DOyfSIDuGYoNttrM07yus6-GZup7GvIOmTk7vjKHuAzQ/s1600/SEQ02_50.jpg" height="346" width="640" /></a></div>
<div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<b><span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: Times, "Times New Roman", serif;">Above an image from the classroom scene at the start of the film in which Delf teaches the young birds how to read the stars.</span></span></b></div>
<div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: Times, "Times New Roman", serif;"> </span> </span><span style="font-family: Georgia,"Times New Roman",serif;"></span></div>
<span style="font-family: Georgia,"Times New Roman",serif;"></span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">
It was a difficult task to keep Delf a strong character throughout
the film's arch when she goes through such hardship in the story.</span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">
(Warning: plot spoilers coming up)</span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">
The hardest issue I found, working through the storyboards, was to
make the blossoming relationship between Delf and Yellowbird
believable, yet subtle. I didn't want any big 'falling in love'
scenes, and Delf always has a reason for convincing Yellowbird to
carry on with the journey, to give him the strength and to boost his
confidence and courage to continue leading their migration even when
his own determination falters.</span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">
She needs to have reasons for this, and of course the health and
safety of the flock are her priority once Darius passes away.</span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">
It's also this event that throws Delf's emotions into disarray, and
lacking a strong father figure she connects to the new natural born
leader... Or at least that's who she believes Yellowbird to be.</span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">
So it was this kind of dual aspect of the relationship I was
interested in highlighting: Delf needs Yellowbird to lead the flock
through the migration, even if it means conning him into doing it,
and yet she starts to see his kindness and warm hearted nature and
begins to warm to him.</span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">
Again we were blessed by a strong performance from our lead actor
<a href="http://www.imdb.com/name/nm0266824/">Dakota Fanning</a>, who had the amazing talent of producing a warm, charming and heartfelt performance in two days, working with myself, a director who in the previous 4 days had flown from Paris to L.A. to record with Seth Green, then with the transatlantic jetlag setting in and flew overnight to New York.</span></div>
<div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">Here Dakota was waiting to give colour to the
<i>straight </i><span style="font-style: normal;">role in the film. A colour in abundance we got!</span></span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-style: normal;">It is always challenging to be the
straight guy, when all around you are brilliant comedic turns from
all the ensemble, yet every comedy needs this role, the one character
who sees the madness around them.</span></span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-style: normal;">Except in Yellowbird, Delf is so
emotionally upturned by the events, she can't really see through
Yellowbird's lies.</span></span></div>
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<br /></div>
<div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<b><span style="font-family: Times,"Times New Roman",serif;"><span style="font-style: normal;">Below is one of the brief documents given to the animators and story artist in order to start learning the character, who they are, their personality and quirks, and points of reference.</span></span></b></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-style: normal;"> </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvKE-52Rx-tG7G_y7u25h7oUs3xRvAQQTN2mMxXJu2JrPHh3SHHqY9V2bGXa3W7h4HnCXgcQ8a3MqE6ljQGjfrE1xvTMtmD1nNKtcRWru3OCRUjJANeqBXJ318bSC_DipSsFgRRLfCYUo/s1600/Delf-character-description.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvKE-52Rx-tG7G_y7u25h7oUs3xRvAQQTN2mMxXJu2JrPHh3SHHqY9V2bGXa3W7h4HnCXgcQ8a3MqE6ljQGjfrE1xvTMtmD1nNKtcRWru3OCRUjJANeqBXJ318bSC_DipSsFgRRLfCYUo/s1600/Delf-character-description.jpg" height="360" width="640" /></a></div>
<div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-style: normal;"> </span></span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-style: normal;">Design wise we wanted Delf to look
charming and light, we knew immediately she had to be graceful and in
a bird like way, attractive.</span></span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-style: normal;">As we settled early on to
distinguish each character with different shapes and designs, even
though they were all part of the same family, it was acceptable for
her to look very different to her relatives, and to Darius in
particular.</span></span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-style: normal;">It would have been confusing to have
a family of 12 birds in which they all looked alike, even if they
slightly varied in shape and size; so the decision we made was based
on maximizing each character's personality and charm.</span></span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-style: normal;">Even Karl, the fastidious and
annoying second in command who has his leadership usurped by the
young upstart Yellowbird, has charm in his design; there's appeal in
the shapes and stylization. And his character and attributes are
perfectly captured.</span></span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-style: normal;">I will go into more depth about Karl
in a future post, as he is my favourite character.</span></span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-style: normal;">So with Delf we settled on a long
neck, giving hr silhouette an immediate grace and fantastic poise.</span></span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-style: normal;">This assuredness in the pose really
helps distinguish her strength of character, yet allows the animators
to achieve poses that are graceful and light. And by lowering the
neck it is very easy to show submission, or a loss of confidence.</span></span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-style: normal;">In particular, as I wanted to see
the birds move and act like real birds, the lowering on the posture
was a very strong way to show a character's submission to another's
will- much like in the animale kingdom.</span></span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">
Yet Delf never yields in the film, even when challenged strongly by
Karl, she stands up for herself, and for Yellowbird... Even though
her confidence and trust in the new leader will prove to be costly to
the family and her.</span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">
As a point of reference and inspiration I looked at specific birds
and gave animators briefs which contained plenty of information
regarding these particular spieces.</span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">
The <i>European Roller, </i><span style="font-style: normal;">a
migrating bird who's predominantly blue plumage with touches of
organges, purples and blacks makes them very distinguishable.</span></span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-style: normal;">Formidable flyers and migrators, the
rollers can be quite stocky, and as a species it is very striking in
its strong direct flight.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAH6gXFfX2p8f6O20rlbuNd1Jd05438yI02WmxxyAISCLG0INm1fRZrhJCrWJe4VDby9SpegFJEnxbiEdogKhIsIdmeJYSnsD7K3ZRGk-d-Ksn8EjevVKA_qt_Oel5awdSFGurq_3OzME/s1600/Flock_ANIM_REF-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAH6gXFfX2p8f6O20rlbuNd1Jd05438yI02WmxxyAISCLG0INm1fRZrhJCrWJe4VDby9SpegFJEnxbiEdogKhIsIdmeJYSnsD7K3ZRGk-d-Ksn8EjevVKA_qt_Oel5awdSFGurq_3OzME/s1600/Flock_ANIM_REF-2.jpg" height="433" width="640" /></a></div>
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<div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-style: normal;"><b><span style="font-family: Times,"Times New Roman",serif;"> Above you can see some of the information given to the animators. Knowing the spieces of bird was very important to me to give the birds personalities, movement and mannerisms. On the bottom right corner you can view a comparison between an European Roller and Willie one of our characters in the flock.</span></b></span></span></div>
<div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<br /></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">
And for elegance and lightness I asked the animators to look at
footage of the Japanese Red-crowned Cranes which, with their
beautiful graceful dance and posture would bring some of the
qualities I was seeking in Delf's posing.</span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">We do also play a lot with the size of her eyes, having these huge saucer sized pools of emotion you can stare into, I wanted to be able to use this as a tool to get the audience close to Delf, but also for comedy. In one romantic scene between Delf and Yellowbird, where she tries to convince him to continue the journey while he's torn by the feelings for her, the need to tell the truth and the fear that this truth will ruin the friendship, I use the eyes in a way that teases a little the usual romantic scene, and pokes fun at the big eyes shot you usual get in these moments in animation... We go way big with Delf's pupils!</span></div>
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<b><span style="font-family: Times, "Times New Roman", serif;">Below a lightboard image from the movie in which Delf stands with her father Darius observing some birds departing on their migration.</span></b><br />
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<b><span style="font-family: Times, "Times New Roman", serif;">Below the 3D progression of the character in its model stage</span></b> </div>
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storyboardistahttp://www.blogger.com/profile/00978633129448119706noreply@blogger.com0tag:blogger.com,1999:blog-7141539217591169735.post-57038406636651681502015-01-30T06:03:00.000-08:002015-01-30T06:03:27.916-08:00LIGHTBOARDS- part I<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: Georgia,"Times New Roman",serif;">A quick one this time to introduce the artwork of Romain Jouandeau, our amazingly talented concept and lightboard artist.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">I will go more in depth into this aspect of the film's artistic production shortly, with artwork and a conversation with Romain where he shares some insight into his work on the film, but for now I'm here to share his fantastic work as he has just started his own blog on the work he produced on Yellowbird. </span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">You can find the blog here: </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>
<span style="font-family: Georgia,"Times New Roman",serif;"><a href="http://visdevjouandeau.tumblr.com/">The Art Of Romain Jouandeau on Yellowbird</a></span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">Enjoy!</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVX69sEBmz1X26YQ2jKpmlbHEGRvNgFmQIqGlCtBX5-rr8sCxD1j2Ob_Jbo0fMKLRkoVdq4yfH7JTt5R9kb2tLBUTrYb2JJ4chGQ_7eTAQ2PnftbTpEl4i8suhVKUwjA9o0CL2d4KGrGg/s1600/tumblr_nihse8cZ2o1u8ksueo1_1280.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVX69sEBmz1X26YQ2jKpmlbHEGRvNgFmQIqGlCtBX5-rr8sCxD1j2Ob_Jbo0fMKLRkoVdq4yfH7JTt5R9kb2tLBUTrYb2JJ4chGQ_7eTAQ2PnftbTpEl4i8suhVKUwjA9o0CL2d4KGrGg/s1600/tumblr_nihse8cZ2o1u8ksueo1_1280.jpg" height="360" width="640" /></a></div>
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storyboardistahttp://www.blogger.com/profile/00978633129448119706noreply@blogger.com0tag:blogger.com,1999:blog-7141539217591169735.post-18756974531198968082015-01-29T04:51:00.001-08:002015-01-29T05:23:09.640-08:00STORYBOARDS part I- a conversation with story artist DEAN ROBERTS<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: Georgia,"Times New Roman",serif;">As in all films the storyboarding process begins quite early, most times without the luxury of fully completed designs to help you along the way to finishing your sequence. So it is common to have the frustrating task to work through your initial versions of scenes designing sets, props and at times characters, until the approved ones are delivered to you.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">Yet the first passes of the storyboard are also the most exciting and fun, when you're free to explore many avenues and possibilities which to take the story and characters.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">The first job I undertook when leaping on to the Yellowbird project was to work through the changes I wanted to apply to the story and characters, and the best way to achieve this was through the storyboard.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">I commenced working on very rough thumbnails, working through the many ideas I had for each scene, yet one man alone cannot storyboard a whole film in a few months, so I pulled together a small team who could achieve this in the budget and schedule we had at our disposal.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">We had only 6 or 7 months to complete the whole film in storyboards, aiming to have the animatic done a few months after that.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">The first story artist I approached is probably the fastest pencil I know: <a href="http://www.dean-roberts.co.uk/">Dean Roberts</a>, story artist on Corpse Bride, Gnomeo and Juliette, Tale of Desperaux, The Golden Compass, to mention a few.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">I met Dean while working on Frankenweenie and, aside from the speed in which he delivered scene after scene of beautiful yet simply drawn shots, I was amazed by the quality of the ideas behind the drawings. I always felt that a storyboard artists best asset is not really his or her drawing skill but the strength of the ideas, the ability to solve story issues, untangle complex problems in the narrative of a film's story, its characters, and to visualize these in the best shot and edit options.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">Here Dean gives us a little insight in his work process and the task of storyboarding Yellowbird's most challenging scenes.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">CDV- You storyboarded some
of the most dramatic and also cute scenes the film? How do you begin
to work a sequence as tense as the shipwreck, and jump to one as
light and fun as the classroom? What are you're starting points, and
where do you look for inspiration? </span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;"><a href="https://www.blogger.com/null" name="__DdeLink__47_1405684349"></a>
DR- With the classroom scene I had the voice artists performance as
inspiration. Its always easier to work with the final performance as
I can draw my storyboard panels to reflect the voice artists'
delivery. As the scene was about Delph being teacher I positioned the
birds to look like they were in a classroom set up even though they
were in the branches of the tree.</span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">The shipwreck scene was all about
drama and atmosphere.I had lots of reference of old rusting derelict
tankers to help with scale and detail. I established that the two
search parties went off in separate directions. The ship was on its
end which made it interesting to stage . I wanted to show that the
various locations the birds searched were at dangerous angles which
meant avoiding shots with the usual horizontals. Doors were shown on
their side , railings ran upward and the birds had to fly vertically
up and down as they navigated the ship. I also wanted to show the
scale of the ship compared to the tiny birds lost in its corridors.
its great to get 'scale on the big screen' I also drew these boards
with more tone than usual to create the scary atmosphere that would
hide the oil covered sea birds showing them mostly in silhouette.
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Below are the panels of the start of the shipwreck sequence.<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWs-cHql203MujtHuBmFxFUMwvtDvC3mvjVmXN3Q1BqTKd6gBgTLzp1Kya4ZHD01DackgPQgDlTWoNP0uUV4FmhVE5w8aKD5M25aLhvsMeS4p2DRyjMnNrpM9wTgVb_dpD1WO6XISn1JU/s1600/1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWs-cHql203MujtHuBmFxFUMwvtDvC3mvjVmXN3Q1BqTKd6gBgTLzp1Kya4ZHD01DackgPQgDlTWoNP0uUV4FmhVE5w8aKD5M25aLhvsMeS4p2DRyjMnNrpM9wTgVb_dpD1WO6XISn1JU/s1600/1.jpg" height="225" width="400" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGrSVGuxw1zjI6ZUA4tvDETYEbc8gFNmNAeDOKFeww2uNO1bw9BtqVDVJBiA2ibe8ATQ0_HXnHqd3Z3bCluhyphenhyphenxsnbsviyIXNkFS-mkn5Ax05MzMJXYTyWHrsWy3SprIxehkJljKSWYak0/s1600/2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGrSVGuxw1zjI6ZUA4tvDETYEbc8gFNmNAeDOKFeww2uNO1bw9BtqVDVJBiA2ibe8ATQ0_HXnHqd3Z3bCluhyphenhyphenxsnbsviyIXNkFS-mkn5Ax05MzMJXYTyWHrsWy3SprIxehkJljKSWYak0/s1600/2.jpg" height="225" width="400" /></a><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">CDV- as a storyboard artist
you have to have a pretty varied and eclectic CV, yet you're drawing
style is specifically your own, you seem to come to your own
shorthand for characters regarldess of the visual style of the film;
do you focus more on a films' cinematic style and how do you come to
recognize this, and apply it to your storyboards?</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">
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<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>
<span style="font-family: Georgia,"Times New Roman",serif;"></span><span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black;">DR- I
worked as a traditional animator for many years and learned all the
posing and staging rules that make 2d drawing clear. I learned from
many great animation artists and you pick things up as you work.
Eventually all the little things you learn become your own style. I
also have my own strong values of storytelling and staging which I
try to apply to my sequences. Good reference always helps. I like to
have model sheets of the main characters at hand . yellowbird had
pretty much all the main characters designed when I joined the
production so it was easy to slip into the style of the film. Knowing
the locations makes designing your sequence easier . It can also
highlight staging problems too. </span></span>
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<span style="font-family: Georgia,"Times New Roman",serif;">CDV- I always prefer to make
an initial editing pass on my storyboards even though I know a lot of
storyboards rely on an editor to cut their storyboards for them; how
much importance do you give to cutting your own work, and how do you
find the 'rthythm' within a scene?</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">
</span>
<div class="western" lang="en-US" style="margin-bottom: 0cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>
</div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span>
<div class="western" lang="en-US" style="margin-bottom: 0cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">DR- I've
been storyboarding for so long now I tend to self edit as I draw . A
lot of board artists thumbnail first but I tend to dive in with final
boards. This may seem foolhardy but I find I draw better when I
commit . If I thumbnail first my finished panels tend to become
stilted versions of the thumbnails. This doesn't mean I never
thumbnail . I still need to work things out on complicated sequences
such as 'shipwreck.'</span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span>
<div class="western" lang="en-US" style="margin-bottom: 0cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">I work on
toon boom's storyboard Pro which is a superb program for drawing
panels and seeing sequences play as you work on them . It has a
timeline across the bottom of the panel which allows me to quickly
see my sequence running more or less as an edited scene . This way I
pretty much know that my seq works as I intend it when I turnover to
edit . Of course story edit decisions are made which can mean things
get chopped but that's part of the process. You tend become thick
skinned as a storyboard artist.The panels are there to function the
film not to stand out as little illustrations.
</span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span>
<blockquote class="western" lang="en-US" style="margin-bottom: 0cm;">
</blockquote>
<span style="font-family: Georgia,"Times New Roman",serif;">CDV- Your involvement in the
film was early on, as one of the first storyboard artists. How do you
view the final cut of the film now that it is complete, compared to
your original storyboarded scenes?
</span><br />
<div class="western" lang="en-US">
<br /></div>
<div class="western" lang="en-US">
<span style="font-family: Georgia,"Times New Roman",serif;">DR- I was very pleased that my
sequences were pretty much intact in the final film . It helped to
have a good relationship with Christian, the director. We could talk
about the scenes and work out how we wanted each beat play . I got
closer to where the scenes needed to be a lot quicker this way. It
was still then down to me to get drawing!</span></div>
<br />
<span style="font-family: Georgia,"Times New Roman",serif;">CDV- What was your favourite
experience on Yellowbird?Favourite scene/moment?<span style="color: black;"> </span></span><br />
<br />
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black;">DR-
I think my favourite moment was in the shipwreck when Karl was
arguing Delph on the loose girder. I had the voice track and got to
do a bit of broad acting . Karl was very funny to draw.</span> </span><br />
<br />
<span style="font-family: Georgia,"Times New Roman",serif;">CDV- And is there something
specific you'd like to add to the post about your work?<span style="color: black;"> </span></span><br />
<br />
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: black;">DR- I
am proud of my work on Yellowbird and several of the sequences I
worked will be part of my portfolio in the future . The story and
characters allowed me to produce some of my best work I've done over
the past few years. </span></span>
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<span style="font-family: Georgia,"Times New Roman",serif;">In the coming posts, as well as continuing to delve into the design and characters of the film, I will now discuss some of the pivotal scenes in the film through the storyboard, then lay-out and finally animation.</span><br />
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storyboardistahttp://www.blogger.com/profile/00978633129448119706noreply@blogger.com0tag:blogger.com,1999:blog-7141539217591169735.post-59635738775014581982015-01-21T07:40:00.003-08:002015-01-26T11:07:09.904-08:00CHARACTERS part III- YELLOWBIRD<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: Georgia,"Times New Roman",serif;">When I started reading the script and getting into the story and characters I was instantly drawn to the protagonist, this tiny frail orphan yellow bird with no name.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">He was so different from the other main characters, all confident flyers, and with the exception of the youngest children, experienced migrators.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">Here was a character who not only had never known his parents but was brought up in an abandonded house by a ladybird who, although a flying creature and full of the best intentions, could never impart the valuable lessons a bird needed to take spread its wings and join the others in the wide open skies.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">The more I read the more I realised there was something interesting that could be pulled out of these frailties: how would a person behave if they had grown up away from other people? Who would you be if all you'd learned of the World and others was from books and magazines? If your whole World was enclosed inside the four walls of an abandoned house in the middle of a thick forest?</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>
<span style="font-family: Georgia,"Times New Roman",serif;">It was these frailties that attracted me to Yellowbird and we played a lot on it during the development of the character and then in the brief to the storyboard team firstly then animation team. </span><br />
<br />
<span style="font-family: Georgia,"Times New Roman",serif;">Below is the initial character description I wrote for <a href="http://www.sethgreen.com/">Seth Green</a>, the actor playing Yellowbird in the English version, then later recorded in the French version by the excellent and energetic <a href="http://www.imdb.com/name/nm1570563/">Arthur Dupont</a>, and for the storyboarders and animators.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;"><br />It is in these key passages that Yellowbird's character emerges from:</span><br />
<br />
<span style="font-family: Georgia,"Times New Roman",serif;">''Yellowbird has grown into an impossibly idiosyncratic teen, full of frailties and quirks. He is at times a bit shy, clumsy, adorable, scared, frail, happy, sad, positive, genuine, sincere, and content with his life, yet dying to discover the wonders of the World.''</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: Georgia,"Times New Roman",serif;">''In
his voice there needs to be shyness and a gentle kind of frailty that
is borne from the fact that he has had very little contact with other
people. He is almost socially inadequate, not dumb or stupid but maybe a
little naïve at first, even if his attitude to everything is positive.
Yet he does grown in character and courage.''<span style="font-family: Georgia,"Times New Roman",serif;"></span></span></span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: Georgia,"Times New Roman",serif;"><br />So
we started to evolve the design to incorporate these traits, these
mannerisms, but also to work into the design and model elements from non
migratory birds. </span></span></span><br />
<br />
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: Georgia,"Times New Roman",serif;">Even though the initial idea from the writers and producers was to create non specific birds for the main characters, I needed to work out what birds they were: a starling flies and moves differently from a penguin.</span></span></span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: Georgia,"Times New Roman",serif;">I needed to know, the storyboard artists needed to know and the animators needed to know.</span></span></span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: Georgia,"Times New Roman",serif;">It's not just the design that influences the mannerisms and movements of a character, it is also the input the actors give, the ideas of the writers, the director, but in the case of an animal I feel it is the characteristics of the creature itself.</span></span></span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: Georgia,"Times New Roman",serif;">So defining what type of bird Yellowbird was, and then the whole flock, was very important to me.</span></span></span><br />
<br />
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: Georgia,"Times New Roman",serif;">Throughout the process we worked closely with an ornithologist, </span></span></span><span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: Georgia,"Times New Roman",serif;"><a href="http://www.franceinter.fr/personne-guilhem-lesaffre-0"><span style="font-family: Georgia,"Times New Roman",serif;"><span class="st">Guilhem Lesaffre</span> </span></a>, author of many books on French and migratory birds, in order to work out migrations, bird movement to aid the models, and the animators, but also to try and find some interesting facts we could work into the story and characters.</span></span><br />
<br />
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: Georgia,"Times New Roman",serif;">It was after one of these conversations that I went away and started to study a variety of non migratory birds to find which one would be Yellowbird.</span></span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: Georgia,"Times New Roman",serif;">I settled on the marvellous Crested Lark.</span></span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: Georgia,"Times New Roman",serif;">Below find my information sheet I compiled for the animators once my research was done.</span></span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: Georgia,"Times New Roman",serif;">Yellowbird is not such a bas sort after all, as you've read in the notes, and I discovered in developing the story and him as a character, his heart is in the right place and the motivation for his actions is genuine and heartfelt:</span></span><br />
<br />
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: Georgia,"Times New Roman",serif;"> </span>''His yearning for a real family, to be part of a flock, is much stronger than his sense of reason and this clouds his judgment preventing any thoughts of anything tragic happening.''</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"><br />''In his naivety and inexperience, Yellowbird simply doesn’t see what harm what his actions can bring to the flock and what repercussions they could have.''</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">There is a genuine reason of loss and wanting to belong that drives him so even though some of his actions seem dishonest, underhanded and even cruel at times, he is driven by the yearning to become a real bird and be part of a real family.</span><br />
<br />
<span style="font-family: Georgia,"Times New Roman",serif;">It is this great ambiguity, these quirks, these frailties and idiosyncrasies that make Yellowbird a very interesting character to have in a film and to work on, as the are they base for an unsual and uncommon lead in an animated film, where usually the leads are strong and well defined. </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>
<span style="font-family: Georgia,"Times New Roman",serif;">I enjoy characters on the outside.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>
<span style="font-family: Georgia,"Times New Roman",serif;">Below you can see the evolution of the character from initial sketches to completed model along with phonetic mouth charts for the lip-synch, a work which posed obvious challenges as birds have beaks and not mouths.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"> </span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">As mentioned the mouth shapes for the lip-synch were especially challenging as I chose very early on that our characters would not have teeth (birds don't have teeth and I wanted to keep some very realistic and natural aspects of real birds in the design and animation), and teeth are an important component of lip-synch as they define some very specific mouth shapes used for certain sounds. Also I wanted the beaks to retain a certain rigidity, and not be too malleable; I didn't want them to move like rubber but still have some stiffness in them, which added to the task the animators undertook in giving the birds expressions and making them talk.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">Every expression and facial movement needs to be accounted for when preparing a design for animation as it will be the animators job to translate these 'shapes', these expressions on to the model once it is rigged and set-up for animation. It is the rigger and modeller's job to look at the 2D expressions designs are create a model that can achieve these. </span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">Below are just some examples of the many expressions drawn for Yellowbird prior to model.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;"><br />To conclude this post I would like to add a brief word about the wonderful actors that, with their energy, charm and sensitivity, brought the animated character to life. Without the right voice an animated character looks beautiful, well design and does indeed move, but lacks soul. </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">Can you imagine anyone else voicing Scar but Jeremy Irons? Are you able to hear any other voice but Jack Black's for Po in <i>Kung Fu Panda</i>? What about trying to imagine the Genie with any other voice but the great Robin Williams? Or anyone else instead of Phil Harris for Balou?</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">Too many times I see animation characters voiced by actors that don't suit the desigm, or by actors who have difficulty imagining a World that does not yet exist and will not for perhaps 2 more years. Locked in a recording studio, the actor has perhaps a week, a year or, in our case, a few days to record a whole script; this is by themselves with no other actor there to feed off; the director and voice coach the only people briefing them on the tone, the mood, the setting of a scene and the emotion needed. It is a daunting task and some actors not used to the process or not able to 'let go' simply fall short and deliver flat performances.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">This was not the case for Yellowbird. </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">Seth Green was my first and only choice, his experience in animation was invaluable, his charm and humour but also a distinct sensitive side, were the key points I was looking for in the character, and Seth delivered this with aplomb, and at times improvising lines which in fact made it into the final cut.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">Seth work with only the storyboards and myself to direct him and I couldn't be more please with the way he brought this little frail, funny, awkward bird to life.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">Then, back in France, once the animation had finished, we recorded the French version, and although I was less involved in this casting, I was wonderfully surprised by the discovery of Arthus Dupont, an actor I did not even know until I met him at the recording studio in Paris.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">His performance has the same lovely tenderness we sought all along, and his boundless energy kept us in stitches for most of the recording.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">Before I delve into Yellowbird and a description of his character, personality, his cast choices and how we arrived at his final design and model, I wanted to share a few more of the handsome images from our character design and development.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">Some of which never made it to the final cut of the film, some due to budget restrictions obviously, others to scenes being cut from the movie.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">As in all films, after the first draughts of the script, we had to draw our cast into a kind of shortlist, based on the amount of primary, secondary and generic characters we actually could afford to have in the whole film.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">As we had 13 main characters in our flock, the family that under the guide of the hapless Yellowbird attempts their annual migration to Africa, we already started at a disadvantage in terms of the secondary and generics we could achieve. So we needed to 'double-up' or create designs and models that could be derived in order to create other characters.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"> Below you see some character designs for our human cast. We established early on that we did not want the humans to be fully visible in our film, that although they were a invading influence in the World of birds, they should not be fully seen or even heard. I wanted the humans to have a presence but to be almost shadows, forms, shapes, that made sounds but with no specific lines of dialogue. So I cut all the lines from the humans at edit, and aside from some shouts, muffled voices and such, we rarely hear them. But their presence is very strong as our way of life invades and permeates over the life and habitats of all birds... And most times not for the best!</span></span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;"> </span><span style="font-family: Georgia,"Times New Roman",serif;">Some character derivations were only by colour, thus achieving a higher number of generic birds for example, when their shape and model was non-specific or common enough; a crane or flamingo would always look like a crane or flamingo even if they were coloured blue or yellow.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">Other models needed to have some shape derivation, so we designed then built models which, with a little tugging here, and a little pulling there, and perhaps with the addition of a few head feathers, would look different from each other even before the colour alteration. These shape derived characters allowed us to increase the number of our generic cast considerably.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">Of course in a road movie, which Yellowbird essentially is (except it takes place in the sky, and the land, and some beaches, but mostly in the sky) you need variety and there's is plenty of variety when your film is about animals and you travel to a different continent.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">Africa was one of our biggest challenges as it is a relatively small scene, yet it is pivotal to the story, the culmination of the journey, so we had to create a setting, a location, and characters to populate it with the same budget Madagascar 2 spent on their coffee.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">Let me tell you there's nothing more ridiculous than spending a 2 hour meeting try to work out which animals will populate your Africa, and which characters from other scenes are you going to cut from the film in order to do so. </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">My producer Corinne was fond of flamingoes, so these had to feature, but I fought hard for my elephants, the intelligent and noble beasts of the Savanna had to have a place at the end of the film.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">For me the size and presence of the elephants and the giraffes were the perfect counterbalance to the beauty and poetry of the flamingoes and other tropical birds we populated the scenes with.</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">When looking carefully at the end scenes you will notice that some of the tropical birds are in fact generic French birds we use at the start of the film and we see migrating South half way through the film... We just painted them with more fun and tropical colours!</span><br />
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<span style="font-family: Georgia,"Times New Roman",serif;">The saddest decisions you have to make as a director are the cuts. What and where to cut is at times even more important than what you decide to keep. You risk making an awful mistake if you cut an item, a character, or scene on which a pivotal part of the film rests.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">Unfortunately for our production, and more importantly unfortunately for mister Nutria and Lucille the centipede, one of the biggest cuts I applied to the film was <i>scene 5. </i></span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">This was the first scene we completed, in full animation, and close to being fully rendered. And although the character design was strong, the scene was one of the funniest, involving Karl getting his fortune read before the migration by a cunning Nutria living under the flock's tree, ut did not add anything to the story. It was a strong character scene for Karl but the main story point could be told in one line of dialogue, so I opted to cut the scene and add a line to one of the following scenes in order to keep the story point.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>
<span style="font-family: Georgia,"Times New Roman",serif;">I'll post the cut scene in a later post once we start looking at storyboards.</span><br />
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<div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">
On Yellowbird we were quite blessed to have a wonderful cast for such
a small indipendent film.
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<span style="font-family: Georgia,"Times New Roman",serif;">
It was definitely one of those situations where you couldn't quite
believe you were lucky enough to be working with such terrific actors
and how their performance would really help give our characters life.</span></div>
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<div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">
But I'm jumping the gun here a little as we had to settle on our
designs first and take them to model.</span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span>
<div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">
Our design team started by exploring all possible options for
creating the look and give the characters charm and appeal based on
Benjamin's first development artwork.</span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
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<div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">
We had to make sure these characters had appeal yet worked well in
animation, their inner workings as well as the out skin and plumage
being able to retain the 'paper' quality we wanted for our stylized
look.</span></div>
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<div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">
Capturing the right look for each character goes very deep into the
emotional core of the character itself and of the story; it allows
audiences to connect with them, root for them, or hate them if
they're a villanous individual.</span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
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<div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">
Even before we found our cast we knew we had to pin down our main
characters... And along with assorted secondary and generic ones, we had 13 main characters in our flock to create!</span></div>
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<div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">
Once we settled on the designs our team of modelers, look development
artists and Character Tds.</span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span>
<div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">
Of course before the animator can start using these characters the
models need to be constructed, much in the same way a sculpt is made.</span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span><br />
<div class="western" lang="en-US" style="margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">Our
modelers were responsible of building not only our very complex 3D
characters, but also all our sets and props. The paper style look ran
through all departments so as well as adding that look into the
textures of the models once they were finished and coloured, they
added some little creases and folds into the volume of the sets and
props.</span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span>
<div class="western" lang="en-US">
<span style="font-family: Georgia,"Times New Roman",serif;">Once the modelers had finished each
character, it was given to our charactsr TDs in charge of creating
the articulation rig, a digital skeleton bound to the 3D mesh, to the
sculpt of the character, which allows the animators to manipulate and
move them through its highly complex set of articulations and
controls.
</span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span>
<div class="western" lang="en-US">
<span style="font-family: Georgia,"Times New Roman",serif;">What we wanted to achieve in
Yellowbird was a very realistic natural look, having our characters
behave and move like real birds and not in an anthropomorphic way,
and our team not only built rigs which allowed this but also created
the animation interfaces, establishing muscle, skin, and father
behaviors, which all allow for a broad range of realistic physical
movements but also very cartoony squash and stretch.
</span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span>
<div class="western" lang="en-US">
<span style="font-family: Georgia,"Times New Roman",serif;">It is a cartoon after all and I love
big broad exaggerations and movements, especially in comedy settings,
and anyone watching the film will see the balance between our
realistic bird mannerisms and some very very cartoony animation.</span></div>
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Above and below some of the progression of the character work on Darius, one of our most charismatic characters voiced by the charming, sombre yet fatherly tones of Danny Glover.</div>
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<span style="font-family: Georgia,"Times New Roman",serif;">We allowed only one exception with
the anthropomorphism in our characters, and that was the Owl in the
hotel tree scene.</span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">Voice by Elliot Gould the owl needed
to use his wings a little more than the others, and it really helped
round the character off. It is one of the funniest scenes in the
movie.</span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">
</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">
The unsung heroes of any computer animated film are the Technical
Directors and all the tech and soft departments, who's tireless work,
with artists, helps plan and create the best solutions and strategies
for the whole production.
</span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">
Aside from helping create the tools to build each character, aiding
with the difficult task of making the plumage of each bird move
indipendently if needed, or in unison at the breeze in the air as
they fly, we developed and achieved our own toold to create moving
clouds that retained a stylized look yet moved like real clouds.</span></div>
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</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">
All I have to do is make a drawing of what I would like, then
hopefully if it's achievable in the budget, these guys find ways to
make it happen!</span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">In the next post I'll talk specifically about Yellowbird and go over some of his characteristics and the decisions made in finalising his design and model, before heading into the storyboard process.</span></div>
</div>
storyboardistahttp://www.blogger.com/profile/00978633129448119706noreply@blogger.com0tag:blogger.com,1999:blog-7141539217591169735.post-49748636832591350432015-01-09T03:49:00.000-08:002015-01-09T03:49:14.311-08:00VISUAL DEVELOPMENT- part 3<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkBCFXg1PC8yiQzo16EtDd_VTRBq31yfB6tBztJzffjh9EY4l_Wd2BZ2_zoPLME_VjPWGnGOlGiUj-Hj8DL5cCJL7SwcDw2rzlmP8GnSowNveiSoMVHooJe2W9Y0XcCokbScldfJkJFfQ/s1600/massy-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;">
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">Before
we delve deep into the character development and then the story
process of the film I wanted to share with you some further visual
development work which has helped shape the film's style.</span></span></div>
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">
</span></span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><br /></span></span>
</div>
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">
</span></span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">When
developing a project as complex as a film there is a lot of
pre-planning and research done ahead of finalizing the style.</span></span></div>
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">
</span></span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">Creating
a visually interesting and exciting World is one of the key factors
to making a memorable animated experience. The design should be
original and take you on a fantastical journey, yet there needs to be
some familiarity in the depiction of these environments, something
that triggers some connection and does not jar the audience from the
film's narrative.</span></span></div>
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">
</span></span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">Even
the fantastical World's of <i>Wreck It Ralph </i><span style="font-style: normal;">or
</span><i>The Incredibles </i><span style="font-style: normal;">retain
elements that feel familiar, connect us to them, and allows us to
immerse ourselves deeply into the story and the characters.</span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkBCFXg1PC8yiQzo16EtDd_VTRBq31yfB6tBztJzffjh9EY4l_Wd2BZ2_zoPLME_VjPWGnGOlGiUj-Hj8DL5cCJL7SwcDw2rzlmP8GnSowNveiSoMVHooJe2W9Y0XcCokbScldfJkJFfQ/s1600/massy-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkBCFXg1PC8yiQzo16EtDd_VTRBq31yfB6tBztJzffjh9EY4l_Wd2BZ2_zoPLME_VjPWGnGOlGiUj-Hj8DL5cCJL7SwcDw2rzlmP8GnSowNveiSoMVHooJe2W9Y0XcCokbScldfJkJFfQ/s1600/massy-1.jpg" height="225" width="400" />
</a></div>
<div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: #00000a;"><span style="font-size: small;"><span lang="en-US">On
</span></span></span><span style="color: #00000a;"><span style="font-size: small;"><span lang="en-US"><i>Yellowbird
</i></span></span></span><span style="color: #00000a;"><span style="font-size: small;"><span lang="en-US"><span style="font-style: normal;">w</span></span></span></span><span style="color: #00000a;"><span style="font-size: small;"><span lang="en-US">e
had a number of artists working on researching and evolving the
artistic direction of the film, all briefed to follow a few specific
key points: maintain the stylized graphism developed by Benjamin;
work into the style a hand-made quality; work extensively with
texture; </span></span></span><span style="color: #00000a;"><span style="font-size: small;"><span lang="en-US">and
most importantly to </span></span></span>take our audiences to
a familiar place and give it a fresh twist.
</span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>
</div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">
The visual development artists experiment with the varied elements of
the film straight from the scripts' page, at times working closely
with the story artists who are just beginning to visualise the
narrative.</span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>
</div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">
On both <i>Fantastic Mr Fox </i><span style="font-style: normal;">and
</span><i>Frankenweenie </i><span style="font-style: normal;">my
colleagues and I started working on the storyboards with only few
approved designs in place. The first drafts of the storyboards were
created with the few designs we had, while other designs were
inspired by the ideas we included in those first boards.</span></span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>
</div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-style: normal;">And many times you have to
re-storyboard a scene based on new approved designs; for example if
you stage a whole sequence based on the notion that the main
character's school is to the left of his or hers house, then the
director prefers the design and lay-out of the neighbourhood with the
school to the house's right, you have to restage the whole sequence
as flopping the shots is simply not going to be enough to amend the
storyboard.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZXfbu1rK18kf_gKgulNMUL8__IZn5SfGUQCTTSEpvRVbhCutFre-i4WnYuazMPNb12VYoq1ZsOD9f6-Vf2ZZAiKcvoF6Q0KhBqDRM0eoTXarNsg8edhiJxzzrZoX3xj5ZyLzNLII0MmM/s1600/vis-DEV_004_withcopyright_V01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZXfbu1rK18kf_gKgulNMUL8__IZn5SfGUQCTTSEpvRVbhCutFre-i4WnYuazMPNb12VYoq1ZsOD9f6-Vf2ZZAiKcvoF6Q0KhBqDRM0eoTXarNsg8edhiJxzzrZoX3xj5ZyLzNLII0MmM/s1600/vis-DEV_004_withcopyright_V01.jpg" height="157" width="400" />
</a></div>
<div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">On
<i>Yellowbird, </i><span style="font-style: normal;">w</span>hile
developing the environmental design for the World of characters would
inhabit we landed on the idea of giving everything a <i>creased paper
</i><span style="font-style: normal;">textured look. We applied this
to all assets, all surfaces.</span></span></span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><span style="font-style: normal;">Even
our characters retain this notion in the way the feathers are
developed and produced.</span></span></span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>
</div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><span style="font-style: normal;">But
it is in our sets and environments where this stylization is very
tangible.</span></span></span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>
</div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="color: #00000a;"><span style="font-size: small;"><span lang="en-US"><span style="font-style: normal;">Modern
day visual development artists </span></span></span></span>are
now skilled in both creating inspiration through the art they produce
as well as providing the technical knowhow and support to establish
and guide the look of a film through the rest of the pipeline that
follows and interacts with the visual development process.
</span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>
</div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">
In 3D animation this knowledge is essential, and coming from a
traditional 2D background I rely heavily on my team and their
experience to aid me through these processes and to help me visualise
and construct my ideas.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRQ4lteVAoraB6w__cnI7DZVAjvy6SByzwlYnc4vAaLacSbFRvXb9Np1Tr7jYXXXRRurWzY3zDINzPE70Dukjx24NVOKhoeYBUmzJyl6U7f_1Y-QnhTFqmbq0c_ZTDj9UJKPy5PzBzlSE/s1600/texture_research_massy-1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRQ4lteVAoraB6w__cnI7DZVAjvy6SByzwlYnc4vAaLacSbFRvXb9Np1Tr7jYXXXRRurWzY3zDINzPE70Dukjx24NVOKhoeYBUmzJyl6U7f_1Y-QnhTFqmbq0c_ZTDj9UJKPy5PzBzlSE/s1600/texture_research_massy-1.jpg" height="172" width="320" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg38Lr4rgUGOYv8Y1EHb7MN4S0QZFhWwDGiuZ2LMIPtgUaOXUD54-Nk7wuIuwGAnzSPi5U_6YLSkRff7Fnpubl5z2nsp_Tb-1f8C5zEc06siYkJK1aQOu99UckkjX8wh0zKaS4jC-2YkDc/s1600/vis-DEV_004_withcopyright_V05.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg38Lr4rgUGOYv8Y1EHb7MN4S0QZFhWwDGiuZ2LMIPtgUaOXUD54-Nk7wuIuwGAnzSPi5U_6YLSkRff7Fnpubl5z2nsp_Tb-1f8C5zEc06siYkJK1aQOu99UckkjX8wh0zKaS4jC-2YkDc/s1600/vis-DEV_004_withcopyright_V05.jpg" height="157" width="400" />
</a></div>
<div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">Here Vincent blocks out the stages in his process of applying the
paper texture then a dry-paint brush texture to the surfaces of one
of the environmental elements.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg38Lr4rgUGOYv8Y1EHb7MN4S0QZFhWwDGiuZ2LMIPtgUaOXUD54-Nk7wuIuwGAnzSPi5U_6YLSkRff7Fnpubl5z2nsp_Tb-1f8C5zEc06siYkJK1aQOu99UckkjX8wh0zKaS4jC-2YkDc/s1600/vis-DEV_004_withcopyright_V05.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"></a></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">A staging plan from Vincent depicting the action illustrated in a passage of the storyboard for the Paris sequence. The development of this set being done by working closely with the storyboard artist in order to create a set that works for and with the action.</span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"> Above some colour sample from Dominique Monfery, who headed the film's development prior to my arrival on the project; while below some of the gorgeous artwork by the super talented Romain Joundeau</span>, who will talk us through his work in the next post.</span><br />
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storyboardistahttp://www.blogger.com/profile/00978633129448119706noreply@blogger.com0tag:blogger.com,1999:blog-7141539217591169735.post-2455039540158892122014-12-19T07:52:00.000-08:002015-01-05T04:14:00.853-08:00VISUAL DEVELOPMENT- part 2<div dir="ltr" style="text-align: left;" trbidi="on">
<span style="font-family: Georgia,"Times New Roman",serif;">Another peak behind the scenes of our visual development with some previews of the evolution of the artwork beyond Benjamin Renner's early involvement.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">The biggest challenge for us was to try and retain the stylization and graphism of the conceptual artwork, which was very much inspired by Benjamin's love of cut-out and 2D animation.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">This stylization in fact worked in our favour as we never intended to try and produce a photorealistic look for our film, firstly due to our artistic direction, secondly due to our budget... Realism in animation is costly!</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">For me animation works best when it's stylized, when the design, look and characters are 'made' for animation and do not try and emulate real life. </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">From the design, the anatomy of the models and even the materiality of the surfaces, our film had to have a hand-made feel, but also have a good sense of it being able to 'animate' well.</span><br />
<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>
<span style="font-family: Georgia,"Times New Roman",serif;">For as much as I love Spielberg's<i> Tin Tin </i>I feel that giving Captain Haddock ultra realistic drunken broken capillaries and open pores on the skin of his face and nose is a step too far. </span><br />
<span style="font-family: Georgia,"Times New Roman",serif;">George Remi's cartoons are such charmingly caricaturized characters that they do not need to look so real up close.</span><br />
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storyboardistahttp://www.blogger.com/profile/00978633129448119706noreply@blogger.com0tag:blogger.com,1999:blog-7141539217591169735.post-35627727995462709252014-12-17T11:22:00.000-08:002014-12-17T11:22:27.953-08:00Visual Development<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-style: normal;"><span style="font-weight: normal;">Waaaayyyy
before I had anything to do with the film TeamTo had approached a hot
young director just out of animation school to help develop the
artwork of their new film project Yellowbird.</span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;">
<a href="http://www.imdb.com/name/nm2883649/">Benjamin Renner</a> came to notice with his short film the <i>A Mouses'
Tale </i><span style="font-style: normal;">which attracted Corinne to
get </span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-style: normal;">in touch and try to involve him in the film's visual development.
He went on to co-direct the acclaimed </span><i><a href="http://www.imdb.com/title/tt1816518/?ref_=nm_flmg_dr_1">Ernest and Celestine</a>
</i><span style="font-style: normal;">which was nominated for an
Academy Award in 2013.</span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"></span></span><span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"></span></span><span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-style: normal;"><span style="font-weight: normal;">Benjamin</span></span><span style="font-style: normal;"><span style="font-weight: normal;">'s</span></span><span style="font-style: normal;"><span style="font-weight: normal;">
input </span></span><span style="font-style: normal;"><span style="font-weight: normal;">is
instantly recognizable</span></span><span style="font-style: normal;"><span style="font-weight: normal;">,
</span></span><span style="font-style: normal;"><span style="font-weight: normal;">his stylization of the anatomical form of the birds and their plumage is
something we strived to retain throughout the development and production process and influenced the way we designed and then
constructed, painted and rendered the final models and sets.</span></span></span></span><span style="font-family: Georgia,"Times New Roman",serif;"></span></div>
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<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"></span></span><span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"></span></span><span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-style: normal;"><span style="font-weight: normal;">Here
Benjamin gives a brief </span></span><span style="font-style: normal;"><span style="font-weight: normal;">description
of the development process and </span></span><span style="font-style: normal;"><span style="font-weight: normal;">see
some of the </span></span><span style="font-style: normal;"><span style="font-weight: normal;">artwork
</span></span><span style="font-style: normal;"><span style="font-weight: normal;">which
kickstarted the films' visual look.</span></span></span></span></div>
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<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"><b><span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"><b>CDV:</b>
</span></span></b><span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;">When and how did Corinne approach you first to work on the
development of the film? </span></span></span></span><br />
<br />
<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"><b><span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"> </span></span>BR: </b>I first met Corinne Kouper in 2008 after she saw my
graduation film A Mouse's Tale. She was interested by the fact I had
made a film using the point of view of a mouse. She was interested by
the graphic ideas and intentions I had put in the film in order to
make the audience feel like they were looking the world around them
as a mouse. Then she asked me if I could work with the same idea on
Yellowbird. She gave me this script about this bird during his
migration and I immediatly was enthusiastic at the idea of depicting
the world from the eyes of a bird.
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</blockquote>
<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"></span></span><span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"><b> <span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"><b>CDV:</b> </span></span></b><span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;">As an artist and designer you seem to have a pretty
eclectic style, not settling for one in particular but exploring
various possibilities. How did you come to the stylized designs for Yellowbird and what made you focus into this direction? </span></span></span></span><span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"></span></span><div class="western" lang="en-US" style="margin-bottom: 0cm;">
<br /></div>
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<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"><b><span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"> </span></span>BR: </b>It
was something Corinne really insisted on, she wanted me to have fun
and told me that I shouldn't think about 3D and just have fun with
the graphism. I started working on a minimalistic way of drawing the
character still trying to have charismatic characters. I used always
the same shape, a feather shape and tried this way to create the
silhouette of the characters.</span></span></div>
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<br />
<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"><b>CDV:</b> After the development of Yellowbird designs you of course
went on to<i> Ernest and Celestine</i>. How would you compare the
experiences in terms of the artistic choices you made on both?
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</span></span><div class="western" lang="en-US">
<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"><b>BR: </b>It was very different of
course, the thing is, I was not very confident working on a 3D film,
plus I was hoping to use 3D differently. At first I hoped to use 3D
as a paper cut animation tool and mix it with a 3D world.
Unfortunatly my skills in 3D were too low and I couldn't manage to
explain what I wanted. When<i> Ernest and Celestine</i> came I felt
much more confident with the artistic themes I was about to work on. </span></span></div>
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<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"><b>CDV:</b> Your involvement in the film was early on, how do you
view the final look of the film now that it is complete, compared to
your original concepts and designs for the characters?
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</span></span><div class="western" lang="en-US">
<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"><b>BR: </b>It's of course different
from the first ideas I had but I'm still very happy to see that the
film is very expressive and full of light and comedy. </span></span></div>
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<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;"><b>CDV:</b> What was your favourite experience on <i>Yellowbird</i>?
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<span style="font-size: small;"><span style="font-family: Georgia,"Times New Roman",serif;">Even if it
was very short, I was fascinated by all the anecdots I learned when I
met the ornythologist who came on the film. Everything he said was
fascinating and gave us a lot of fantastic ideas for the narration
and the design of the film. I wish I could work again on a film with
animals someday and once again, enjoy the knowledge of someone who
really knows about animals. I think it gives a film a lot of ideas
and brings a lot of crediblilty</span></span></div>
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<div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">Every film starts its life with a script. Whether it's an original
idea or one taken real life events, or even an existing property, the
story needs to evolve and be developed into a full script</span></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">
In my experience, in animation, the script goes through many
draughts, its gestation period seems longer to me, and the writing
stage continues through to storyboarding, where we have the potential
to yet change the script.</span></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">
I always see the storyboard stage as another stage of the writing
process, albeit one with images.</span></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">
It's only when you see a scene or sequence as a storyboard, edited
into a videoboard with voice-overs, that you can fully see if all the
elements, the character dynamics, the beats and the staging work
well.</span></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">
I've read scripts that on paper looked sound, then when storyboarded
simply lost something in translation. At times this is down to the
story artists' interpretation, at times by the script writers lack of
a <i>visual eye</i>, being unable to see ahead the scene in
animation; being aware of the space-time aspects of a setting that
hasn't even been designed yet is very difficult, and at times writers
simply lack the knowledge needed of the animation processes,
possibilities and potentials. </span></span></div>
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<span style="font-size: small;">
<span style="font-family: Georgia,"Times New Roman",serif;">With Yellowbird we were blessed with a writer who not only understood
these key points, but had already worked in animation.
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">
Antoine Barraud had already worked with TeamTo as a writer on two of
their TV series, and with experience at different levels of film and
television production (director, producer, cinematographer and even
actor) had a unique view which helped the development of our script
deeply.</span></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">
As director of live action films, Antoine has been at the helm of
films like <a href="http://www.imdb.com/title/tt2258447/?ref_=nm_flmg_wr_3">Les Gouffres</a> and<a href="http://www.imdb.com/title/tt3841450/?ref_=nm_flmg_wr_2"> Le Dos <span style="color: black;">Rouge</span></a></span></span></div>
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<div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0.35cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">
Yet Yellowbird is his first animated feature film.</span></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">
In this post Antoine gives us a little insight in the backstory about
the film's story, the script and its development, while in the
following post I will talk through some of the major changes I
brought to the script in terms of cuts and alterations which I felt
necessary when I came on board.</span></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><b>AB: </b>The idea of the film came to me in July 2004 after Corinne
(Yellowbird's producer) and I were very sad not to be able to
finance another film we had developped together called the
<i>Candlelight Circus</i>. What came to my mind was very simple : how
about birds taking the migration backwards ? Corinne immediatly loved
the idea and asked me to go deeper into it. Which i did. From that
point on we never discussed the potential of this concept. It felt
very obvious, very funny. </span></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><b>CDV:</b> You are also a live-action director, writer and producer,
as well as being an actor, which is all very eclectic; how do you
compare working in live-action with animation, where the schedules
are much more extended? Do you find the prolonged development, and
lengthy production time frustrating?
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">
In animation we tend to spend a lot of time exploring various
possibilities in a story, trying out different narratives, and
developing and redeveloping characters? When you write for
live-action or direct do you tend to overwork these aspect in such a
manner, or do you opt for more instinctive choices to focus your
direction?</span></span></div>
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</span></span>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><br /></span></span>
</div>
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</span></span>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><b>AB: </b>I love cinema in general. Always have. I love to go from
<i>How To Train Your Dragon </i>to a film by Apitchapong
Weerasethakul<i> </i>or Bergman. And then to a horror flick and back
to <i>Last year in Marienbad. </i>That's who i am as an audience and
also as a filmmaker. Eclectic. I feel curious and hungry for new
things and different kind of films. Little films, big budget films,
stars, unknown actors, documentary, experimental, animation,
anything. I only want it to be good and well written no matter the
genre or the budget. I would love to write more animation though now
I will mind the length because the cuts were very painful for me. Now
in terms of instinct, yes, live action is a lot more based on
instinct, from the location scouting to directing the actors. It’s
always (at least for me) well planned but still open. It can always
change even as we are doing it, and change again completely in the
editing room. That happens all the time. It’s closer to how I do
things, that’s for sure.</span></span></div>
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<div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><b>CDV: </b>How do you feel about the stylized designs and look for
Yellowbird?</span></span></div>
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">
</span></span>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><br /></span></span>
</div>
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</span></span>
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<div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><b>AB:</b> I love the bird family, Darius, Karl, Maggie, etc, I think
they look great. Also I am totally nuts about the sinking ship
sequence. It looks incredible !</span></span></div>
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<div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><b>CDV: </b>How would you compare the experiences in terms of the
artistic choices you made, between Yellowbird and past projects?
</span></span></div>
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</span></span>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><b>AB:</b> Oh dear. I don’t know. Everything is so different.
Animation wise I had only done TV series which are so much more
industrial in terms of their production management. This time I felt
creative freedom in the writing, to a certain extent. Some choices
were driven by economy but not that many<span style="color: black;">. </span><span style="color: black;">The
thing is that people financing it</span><span style="color: red;"> </span><span style="color: black;">make
you try everything and then we all agree to go back to what it was.
More or less. We do get some improvements here and there in the
process but it’s very tiring and you tend to lose perspective and
objectivity. It’s exhausting. It’s an expensive movie to make so
people want to be sure. I understand that. But trusting would also be
an option, though you need to be a big name to get that from people.
The really really interesting moment of the writing process was with
Corinne alone. Working with her alone really improved the story. Now
the minute we were in production all the rewrites were mostly painful
and useless really. For instance at some point I was asked to create
a villain. Which was very violent for me as I specifically wanted to
write this story without the classical good v/s evil outline. I hate
that. I think about the kids who will see the film and I don’t want
to convey that kind of message. I want things to be more complicated
than that. But anyway I had to do it and for some time we had these
villain characters and it was awful. We all agreed to go back to the
original story but we had them for at least a year. </span></span></span>
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</span></span>
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<span style="color: black; font-size: large;"><span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">I remember watching the Audrey Hepburn movie
“Breakfast at Tifanny’s” around that period and I clicked. I
think this is how I won the war against the villains. I showed up at
a meeting with the producers, financers, and told them about the
movie. Audrey Hepburn is her own villain. You identify with her but
at the same time you know she is not doing the right thing. Which
makes you feel even stronger for her. There is no evil or obstacle.
The only obstacle there is is herself. And it’s a fabulous movie !
A classic. Audrey Hepburn saved the film and the complexity of
Yellowbird ! </span></span>:)</span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">
Now not directing was an experience for me. Both exciting and
frustrating.
</span></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">
I never decided anything in terms of design or editing or sound or
anything else really. It was intended to be a popular movie, a good
mainstream film. I wrote it like that but then it wasn’t entirely
made like that which I think created some distortions. Don’t get me
wrong i looooove authors' movies, poetic authors' films, but
Yellowbird was never intended to be like that. It’s supposed to be
fast paced, fun and thrilling. It was Corinne’s request back in
2004. I think you brought that back to the film when it was drifting
to something it was not. But over the many rewrites and first
development I feel a lot of humor was lost; about 2/3 of my original
gags are gone. At one point I had to let it go... But I ne<span style="color: black;">ver
fully recovered from that. </span><span style="color: black;">Though <a href="http://www.imdb.com/name/nm0249897/">CoryEdwards</a> (Hoodwinked, Escape from Planet Earth, Wish) did bring the laughs back into the writing. We had to ask him
to do that as I was completely washed out from the rewrites.</span></span></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><br /></span></span></div>
<div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><b>CDV: </b> You were also involved in the initial sessions of both
the English and French voice recordings- Can you tell us a little
about that experience, working with comedy greats such as Elliot
Gould, Jim Rash, Richard Kind, Yvette Nicole Brown, Christine
Baranski, Danny Glover? Who was your favorite to work with?
</span></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">
And how do the two versions compare in your view?
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><b>AB:</b> It was a dream come true. Jim Rash is such a riot of
talent and energy. I had loved his work for years. Richard,
Christine, I had been following their work for so long ! Anyway I
gave their names to the casting agent, never thinking for a minute
they would say yes. They are all so willing to make you happy, to
give their very best, to do it over and over again. Doing it in
Hollywood also was part of the magic<span style="color: red;">. </span></span></span>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">
As for the major difference between US actors and French I have to
admit I felt that the Americans are more giving, always willing to
give you more and work to please you. All of them. When in France you
get that mostly from the dubbing actors, the ones used to do that.</span></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">
In the US, my favorite was definitely Jim. I adore Danny Glover,
always have, but directing him over the phone was, of course,
frustrating. You know, we did that together upstairs in the Parisian
studio.
</span></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">
Yvette had incredible energy too. Boy can she laugh and scream ! Some
of the<span style="color: black;"> kids were also very surprising and very
professional. Like Joey King who’s a natural. </span><span style="color: black;">She
is in everything now, from </span><span style="color: black;"><i>White
House Down</i></span><span style="color: black;"> to </span><span style="color: black;"><i>Oz</i></span><span style="color: black;">
to </span><span style="color: black;"><i>The conjuring</i></span><span style="color: black;">.</span><span style="color: black;">
E</span>ven Conchata Ferrel (from <i>Two and a half men</i>)who was
playing a very small part in the film was a real joy to work with.
They were all so easy and talented. They like what they do and it
shows.
</span></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;">
In France like I said, the dubbing actors had that in them too.
Pleasure I mean. Pleasure in working and trying to achieve something
together. Nathalie Boutefeu had it too and I enjoyed working with
her.
</span></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><br /></span></span>
</div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><b>CDV: </b>You created the concept of the film and its story
several years ago now; how do you view the final look of the film now
that it is complete, compared to your original concepts and designs
for the film? Any regrets? </span></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><br /></span></span>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><b>AB: </b> Whoa, again hard to tell for me. It changed and mutated
so much over the years. Like I said the ship sequence is absolutely
amazing. Exactly what I wished and envisioned when I was writing it.
It's perfect. The snow, the airport at the end, the inside of the
plane, all that I love ! The beginning is not always what I saw in my
mind. But that’s also related to the cuts and never ending changes
I was forced to do and undo and do again and undo again and so on for
so long. Though I like the sky over the freeway and some shots of
Paris. Some of the tree hotel also but not all of it. The owl design
I think is also a bit weak.<span style="color: red;"> </span>But the
hotel tree sequence is probably the most painful for me. So much of
it was cut out of the movie. Especially the Maggie/Willy thing. Now I
don’t think people catch their story line and I am sad of that.
But, hey, I understand why it's like that.</span></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><b>CDV:</b> What was your favorite experience on Yellowbird?
Favorite scene/moment?
</span></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><br /></span></span>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><b>AB: </b> Writing the very first draft was an amazing feeling of
freedom and excitement ! That was back in 2006. I did the whole draft
in 10 days. It all felt so obvious and fun. I had a great time doing
it. We had worked hard on the structure before with Corinne, the
outline was pretty solid so the process of writing the whole thing
was very smooth. What a fabulous moment of joy. Especially because I
write more serious films as a director and also because in animation
I had only written short formats. TV series like I said. So this was
like unleashing oceans of dreams and fun ideas. I am not saying they
were necessarily good but that it was so exciting to express them.
Directing the American actors was definitely another highlight. I
would have loved to see more of the actual fabrication afterwards but
I did not want to be a burden for you and your team ! :)</span></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><br /></span></span>
</div>
<div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><b>CDV: </b>And is there something specific you'd like to add to the
post about your work?</span></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><br /></span></span></div>
<div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-size: small;"><b>AB: </b> I would love to meet the audience with you sometimes.
Discuss the film.</span></span></div>
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storyboardistahttp://www.blogger.com/profile/00978633129448119706noreply@blogger.com0tag:blogger.com,1999:blog-7141539217591169735.post-34723725870147723702014-12-10T02:27:00.001-08:002014-12-10T02:27:54.822-08:00Each journey starts with one first step<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtLShtbfEVAKQPwDyIs0YSPvfsG9foLKEig3dirh539jP_-3mCXNGDAeW44j2eO5gbXYRV9X9jktgRFHu8Q1-m2x6m6U3-1wj30M9pU8tjEmRrAPFX6t31Mr6mfGaU6BcUq7T9gZVFuCs/s1600/Yellowbird.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtLShtbfEVAKQPwDyIs0YSPvfsG9foLKEig3dirh539jP_-3mCXNGDAeW44j2eO5gbXYRV9X9jktgRFHu8Q1-m2x6m6U3-1wj30M9pU8tjEmRrAPFX6t31Mr6mfGaU6BcUq7T9gZVFuCs/s1600/Yellowbird.jpeg" height="344" width="640" /></a></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">In December 2012, when I was wrapping up development work on a new TV
series for Eone, Disney and France 5 at TeamTo my producer, Corinne
Kouper, asked me to take a look at the script and first animatic of
the studios' first feature film, Gus.
</span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"></span><span style="font-family: Georgia,"Times New Roman",serif;"></span><span style="font-family: Georgia,"Times New Roman",serif;">Having come off a long stint as storyboard supervisor of a 52 episode
series, and putting the finishing touches on the pilot and bible for
the Eone property (The PJ Masks
http://eonefamily.com/our-brands/pj-masks) all I could think of was a
nice break.
</span><span style="font-family: Georgia,"Times New Roman",serif;"></span>
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<span style="font-family: Georgia,"Times New Roman",serif;">
Yet I took the Quicktime of the first animatic and the script and
promised to come back to Corinne after Christmas with my thoughts.
</span></div>
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</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">
That Christmas was the last real break for the following year and 10
months as, together with Corinne and a bunch of talented people, I
embark on what would be my first solo animated feature film. </span></div>
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</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">
I had co-directed a film before, many years earlier, and a 2D film
hand drawn, and painted on cel at that. But this was a completely
different beast: computer animated 3D film IN stereoscopic 3D, which
had already gone through a year of development.
</span></div>
<span style="font-family: Georgia,"Times New Roman",serif;">
</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><br /></span>
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</span><div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0cm;">
<span style="font-family: Georgia,"Times New Roman",serif;">
As I read through the script I realized the potential of the story,
yet looking through the first animatic I could see many issues with
the main character and story which I felt did not work. </span></div>
<div class="western" lang="en-US" style="line-height: 100%; margin-bottom: 0cm;">
<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: Georgia,"Times New Roman",serif;">I also felt very strongly that the darkness, the high tension drama
and atmosphere running through every scene needed to be revised.
These key points were not playing in favour of the story or the main
character.
</span></span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;">With this in mind, and a armful of other notes, I wrote to Corinne
what would become the basis of the <em>our </em>film, a 12 page
document highlighting the changes I felt required to steer the course
of the film, to service the story and characters better, and to
clearly outline my vision of the film.
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Luckily for me she agreed on most points and in late January 2013 I
went back to Paris to rejoin TeamTo as the director of Gus, or as it
is known in the English version, Yellowbird.
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This blog is an account of all the work, from script to completed and
rendered animation, and in the coming weeks running to the film's
French premiere on the 4<sup>th</sup> of February, I'll be posting a
behind the scenes look of every aspect of the project, with key
insight from some of the major artists involved and many images and artwork from the project.</span></div>
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As a student I always loved learning how the different facets of an
animated project came together, the tricks, the cheats, the
inspirations and the little gems that you don't usually get in a
'Making Of' art book.</span></div>
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<span style="font-family: Georgia,"Times New Roman",serif;"><span style="font-family: Georgia,"Times New Roman",serif;">I hope this blog will give you a better view of the work involved in
producing an animated movie, bring you closer to our film, and
inspire some, especially the younger eager ones, to become involved
in this wonderful industry that has given me and many of my
colleagues, so much pleasure.</span> </span></div>
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