This one is a little more cohesive than the previous one I posted.
There's some neat use of projections that I think is very clever. The end result is the geometry is free to move, but the painter's control over what part of the whole image has which color, tone, value, etc remains. For an example of what I'm talking about, watch the top of the merry go round as it spins in that first shot. The geometry is passing through the painting as the top spins, but the painting is not stuck to the geometry. If you watch carefully you'll see this technique is the very foundation for this style of look through out the short- even on the characters. This is a great way of getting a consistent sense of the painting being alive without it feeling like it's just a painting plastered onto a puppet. The normal 'rule' in CG is to avoid having geometry swim through a texture, but for this kind of stuff it's a great trick.
5 comments:
that was awesome!
Thanks Keith! That was beautiful!!
Really has a classic 2d animation feel to it. WOW
Pure magical!
That embrace at the end was so wonderfully done
Best example of painting merged with CG that I've seen. It takes the best of both, and does it successfully and effortlessly.
Of course, I don't have a clue what the actual film was supposed to be about, if anything... but I think I'd watch a feature film like this.
this film is too beautiful for it's own good. no one bothers commenting or following the script, which is cool by it's own rights..
though i wonder how the visuals serve the plot- it is quite dark and possibly deals with sexual harassment.
maybe the elaborate visuals calls for a simpler script.
ps- it's intrsting that there are no close ups, neither do we see anyone's eyes at the movie till the last shot.
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