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I'm not sure what to think about this. I don't I like surrealism, but I'm glad some kind of traditional animation is being done.Sotiris wrote:Michel Gagne released the teaser trailer for his animated feature The Saga of Rex which he's making on his own.
https://www.youtube.com/watch?v=mJdMqcQIZy0
I'd like this to be true although I'm not optimistic enough. I think we'll be lucky right now if Disney bothers with their hybrid hand-drawn/CGI animation that was seen in Paperman or Into the Spiderverse. One would think that the success of Spiderverse would cause Disney to jumpstart their own feature film with that technology.nomad2010 wrote:Very interesting perspective on how the Lion King remake could and should usher in a new era of hand drawn animation. I love the points this makes.
https://www.vulture.com/2019/07/disney- ... -them.html
Source: https://d23.com/spooky-secrets-about-th ... illainous/Designed by Disney animator Eric Goldberg, Shelley is the young star of the newest World of Color show created exclusively for Oogie Boogie Bash. Villainous! follows her journey as she meets the who’s-who of Disney villains—all given spectacular animation treatment by Goldberg. At a recent Halloween press event, Goldberg shared more devious behind-the-scenes details from this new spectacular and how Shelley Marie was created.
If you’re a literary nerd or a fan of classic horror, the name of our new leading lady might bring a smile to your face. “I’m sure you’re all rolling on the floor,” Goldberg joked, before explaining, “Shelley Marie is named after Mary Shelley, who wrote Frankenstein.” Could there be a more perfect namesake than the iconic gothic novelist?
If Shelley Marie’s design is reminding you of some of your fiendishly favorite characters, it might be because Goldberg listed some spooktacular icons as Shelley Marie’s inspiration, including Tim Burton, Charles Addams, Edward Gorey, “and anyone else who did really cool, spooky characters.”
Since only the Disney villains speak (or sing!) in this new spectacular, Goldberg had to get creative when it came to designing Shelley Marie. “How do you get a pantomime character to emote? Well, she uses body language,” he explains. Goldberg was tasked with creating a range of expressions for Shelley Marie that animators could use to transform her into a 3-D rendered character. During the show, you’ll notice Shelley Marie being especially expressive, “geeking out,” as Goldberg calls it, over Disney villains, or “boogying down with Oogie Boogie.” Goldberg also created an eye-rolling emotion for Shelley Maire that he describes as something he “recognized from my kids.”
“It was our pleasure to provide a lot of new animation for this spectacular,” Goldberg recalls, showing us artwork of Maleficent drawn in a “very wispy, smoky way,” as Goldberg described it. While Shelley Marie appears as a three-dimensional, CGI character, these unique designs of iconic Disney villains in this smoky, stylized manner appear as two-dimensional in the show. “It’s all traditionally hand-drawn,” Goldberg explains.
The short was better than Angry Birds 2.Kyle wrote:Meh, it's cutout/puppet 2d, not very inspiring.
I'm glad he has had the opportunity to do something more creative like that and not just animating preexisting characters. The inspiration from Tim Burton is really evident in her design.Sotiris wrote:Eric Goldberg designed a new character and created new animation for the World of Color show, Villainous!
I read that this short started as a Kickstarter campaign and then it caught the attention of the studio. I'm glad to see a 2D short being released in front of a wide release again, and it looks really good in my opinion.Sotiris wrote:Clip from the 2D-animated short "Hair Love" attached to screenings of Angry Birds 2. It's directed by Matthew A. Cherry and Bruce W. Smith, produced by Lion Forge Animation and animated at Six Point Harness.
Netflix is insistent on their movies appearing on their streaming service as soon as possible, which annoys the big theatre chains as they want movies to be in theatres for 90 days before they reach home media formats. Only a few indie theatres are open to showing Netflix's movies, which Netflix only does to appease filmmakers and awards voters.Kyle wrote:It angers me this isnt a wide release. It seems like something that could do quite well. Oh well, I look forward to it all the same. Its probably my most anticipated movie the year.
Not surprised they're parroting the same 'it's up to the director' drivel from before. The more things change, the more they stay the same. Source: https://www.slashfilm.com/hand-drawn-an ... animation/Q: Is hand-drawn animation on the table for Walt Disney Animation moving forward?
Peter Del Vecho: That’s such a big part of our legacy, and I loved Princess and the Frog. I would say that there’s still a lot of hand-drawn influence going into our CG films. I think we’re one of the only studios in the world that can do both, and how that evolves over time and how we experiment with different styles. But it ultimately comes down to the filmmakers and how they want to tell that particular story.
Jennifer Lee: Yeah, and some of our new shorts you’re going to see, as they come out, new styles. Watercolor styles, even things we’ve never done, but using technology to help us do it in ways that are exciting as well.
Chris Buck: And there’s another thing. People aren’t even aware of it. The hand drawn animators have helped out a lot with our CG animators. I think there’s an appeal that the hand drawn animators, it’s innate in them, and they’ve been teaching the CG animators —
Jennifer Lee: Silhouettes and the swirls, that language.
Chris Buck: — putting that into their work. So when you look at some of our movies now, even though it’s CG on the screen, underneath it is the hand drawn deal.
Q: But it sounds like you guys might be open to it if a filmmaker came to you.
Jennifer Lee: Of course. And it really is, the style is driven by the filmmakers and certainly there’s a lot of, as we’ve developed new talent, excitement to try different styles.
Sotiris wrote:They sure are using a lot of words just to say 'no'.
Source: https://www.slashfilm.com/hand-drawn-an ... animation/Q: Is hand-drawn animation on the table for Walt Disney Animation moving forward?
Peter Del Vecho: That’s such a big part of our legacy, and I loved Princess and the Frog. I would say that there’s still a lot of hand-drawn influence going into our CG films. I think we’re one of the only studios in the world that can do both, and how that evolves over time and how we experiment with different styles. But it ultimately comes down to the filmmakers and how they want to tell that particular story.
Jennifer Lee: Yeah, and some of our new shorts you’re going to see, as they come out, new styles. Watercolor styles, even things we’ve never done, but using technology to help us do it in ways that are exciting as well.
Chris Buck: And there’s another thing. People aren’t even aware of it. The hand drawn animators have helped out a lot with our CG animators. I think there’s an appeal that the hand drawn animators, it’s innate in them, and they’ve been teaching the CG animators —
Jennifer Lee: Silhouettes and the swirls, that language.
Chris Buck: — putting that into their work. So when you look at some of our movies now, even though it’s CG on the screen, underneath it is the hand drawn deal.
Q: But it sounds like you guys might be open to it if a filmmaker came to you.
Jennifer Lee: Of course. And it really is, the style is driven by the filmmakers and certainly there’s a lot of, as we’ve developed new talent, excitement to try different styles.