Escenografia en la animacion

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ANALIZIS DE FUENTES

SANTIAGO RODRIGUEZ PULIDO

PROFESOR
CAMILO COGUA
APRECIACION DEL CINE II

PONTIFICIA UNIVERSIDADA JAVERIANA
FACULTAD DE ARTES
ARTES VISUALES
Bogotá, 19 de Octubre de2010

Buckmaster, Lucke. 2010. Interview with Adam Elliot, writer/director/designer of Mary and Max.

“In regards to animation techniques, you’ve been plying your trade for some time now and Iimagine you get better at it over the years in terms of technical proficiency. However, according to what I read you were working to make just a handful of seconds of completed footage per day. Withtime and experience, how much easier does the process actually get?

On Mary and Max I didn’t actually do any of the animation. I employed six animators to do it for us. We had a huge crew: a supportcrew, a DOP and a huge lighting department. Each animator roughly did five seconds per day. So about 25 seconds a day was done; about two and a half minutes a week. That’s why the shoot took 57 weeks.It was a huge logistic nightmare to make this film. They worked out if I had have animated it, it would have taken 225 years (laughing) so I didn’t have a choice. And, to be honest, I don’t enjoyactually animating. I much prefer to design all the characters and write the script and the actual moving of the puppet is something I find extremely tedious. I would be happy to never do it again.”Esta es una entrevista hecha al director de la película Mary and Max, Adam Elliot. Archivo Digital.

Dentro de la entrevista se pudo observar el gran interés de Luke Buckmaster en todos los aspectostécnicos de la película. En este apartado pregunta a Elliot por los avances que ha tenido dentro de su filmografía y cuáles son los detalles de este; el simplemente plantea que las personasencargadas de la animación de cada una de sus obras tardaron más de un año realizándola, y que prefiere dedicarse a la dirección de cada pieza, pues según el este es un trabajo muy tedioso.
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