I did it.
At some point in my life all the stars aligned for me to go to the Warner Studios in London to see the Harry Potter Tour.
And it was so incredible magical!!
I am telling it not only as a life long fan of the wizarding world, but as an artist that want to spend her life working in the preproduction area of films and series and what not.
It is so endearing and amazing to be able to see all the behind stage work of a big franchise and all the world building in every single detail and showing that no desicion is made randomly.
Details that in the movie that may never make the screen and yet were there for the story to become real. Nothing is equal to enjoy the maquet and the maquet of the maquet and the maquet of the maquet of the maquet. And yes, there are such as many maquets as that.
When you see it all together you get a feeling of the decissions made by several different artists: what is this world like to the people who make it happen visually.
The idea of having it all displayed for generations and long time fans to see it is fantastic in itself.
I want to name the next one, having the sketch with a little explanation and in front, the entire set. You can look at them both and admire them not only for the memories and the good times and making dreams true, but also as a marvelous piece of craftmanship and intense imaginative thinking.
Special Mention: the Graphic Design of the wizarding world. When you see it all it leaves a feeling of a specific time. Of a specific society, and also the influence of different artstyles from the early 20th century (perfect for a really slow and steady society that is also dragged in the modern world of muggle inventions, in my opinion)
I would go back any time, there is so much to look at, the people working in the tour make the experience really amazing and worthy.
AUDIO SYNC AND FRAME BY FRAME ANIMATION
CUT OUT TWEENING
Flash fills frames and using a path in flash for animation
AFTER EFFECTS PIPELINE
Composing, animating (animating with nods) and exporting.
TV PAINT INTRO AND ACTING EXSERCISE
TV paint as a digital software developed for traditional animators
KUBO AND THE TWO STRINGS
Director: Travis Knight
Kubo and the Two Strings is the last stop motion feature film from LAIKA is set in feudal Japan and follows the story of Kubo a young boy who takes care of his mentally ill mother and raise money telling stories in a near village inspired by the adventures of his father, a disappeared samurai.
Laika Entertainment, with four feature films, has become in the last years one of the most renowned animation studios. Bringing together the traditional technique of stop-motion supported by CGI animation and unique style whit original stories, make of their films an alternative to the 3D aesthetic imposed by the big studios such as Pixar or Dreamworks. The narrative and strong aesthetical decisions make by the studio in their productions has now become their brand image.
Kubo is the first film directed by Travis Knight, president of Laika Entertainment and producer of their previous feature films: Coraline, ParaNorman and The Boxtrolls, all of them nominated to the Academy Award for best animated feature. This time, director Knight introduce us to the plot with naturalness and touches themes such as the effect of death, and significance of memory and legacy in an intense story about love and courage.
Kubo (voiced by Art Parkinson) is a young boy and a storyteller. He knows that his father was a brave samurai that died fighting against evil and his mother was able to rescue him from his own grandfather, the Moon King (voiced by Ralph Fiennes), who is a sadistic spirit who took the boy's eye as a new born in the hopes of blinding him. In her moments of lucidity her mother raised Kubo among myths about heroes and monsters, transmitting on his son the passion for telling stories. Also, she was the one that gave him magic. Kubo, as his mother, is capable of bringing to life paper and creating intricate origami figures with his shamisen, a three string traditional Japanese musical instrument.
But these myths are more than that, and upon knowing Kubo’s location, two powerful witches and supporters of the Moon King starts following him, and now he must run away and find an ancient magic armour if he is to defeat his grandfather. Kubo embarks in this adventure finding himself away from the comforts of his childhood aided by a monkey (voiced by Cherlize Therion) and a cursed half warrior, half beetle (voiced by Matthew McConaughey) as his allies, and armed whit his magic shimasen and the knowledge of the old stories her mother told him growing up.
Packed with stunning scenery, this story also counts with one of Laika’s most important characteristics in his feature films: not shying away from the strange and slightly disturbing. The eccentricity and oneiric plays in Kubo’s favour allowing balancing suspense and dream logic with humour and sensitivity with one of the recurring themes in now days animated films such as Tomm Moore’s Song of the Sea, overcoming loss and fear trough storytelling and how it helps to preserve our memories and hopes for the future.
And it is one of the most central pillars of Kubo, it is about being connected to the past trough storytelling and how it strengthens our view of the world. The need to hold into stories we know and how they transform our perspective and, at some point, being so fundamental they become part of ourselves and help us reflect in the world we know as much as broaden it. The power that Kubo imposes in his stories is the same power that storytelling has to make a change and influence the future and that knowing those tales is game-changer is a powerful realization.
One of the most prominently aspects of Laika is that they use a mixed media in their stop motion producing techniques; they have, since the making of Coraline, continually use the most recent technologies like 3D printing even managing through the years to collaborate with 3D printing companies to develop new software for the puppet and set making process. Also the study pushes stop motion animation to another edges in its production, to bring their stories to life managing to touch and intertwine the delicately hand-crafted settings with CGI. Resulting in the tactile physicality of the stop motion whit intricate and high passed action scenes and visual effects to reach the high stylized look of the film.
First approach, practice and understanding techniques for animation. Working with sound, different media and setting booths and cameras for stop frame techniques.
- Software: Stop Motion PRO (Eclipse)
SAND ON GLASS
Stop Motion Pro and Stop Motion Booth
Developing craft skills and working with audio
BOILING AND MORPHING (group project)
Traditional 2D Animation
LYPSYNC AND CUTOUT ANIMATION
Approaches to animation