, director de Los mundos de Coraline , ha conseguido con este film, darle una vuelta de tuerca más a esta manera tan artesanal de hacer películas de animación. Although the technique of stop motion is almost as old as cinema itself, Henry Selick, director of Coraline, has succeeded with this film, give it a twist so more to this craft of making animated films.
, productor de la misma, sí obtuvo con el film. Henry Selick, despite being the director of Nightmare Before Christmas, never had the recognition that Tim Burton, producer of the same, it was with the film. With Coraline removed that thorn has been achieved and to reaffirm their name in the world of stop motion that has been dedicated to several decades.
. Coraline is an adaptation by Selick himself a story by Neil Gaiman known science fiction writer and graphic novels, most notably the highly successful Sandman.

In this delicious, dark film, not suitable for children, Selick combines a very special 3D and traditional animation.

TRADITIONAL PROCESS

difíciles de manejar a mano. Each scenario, character and details of the targets is modeled by hand by artisans, to the point that every texture has the smallest detail, despite being difficult to manage thumbnails hand. , la ropa de los personajes tejida a mano con un hilo de apenas el grosor de un cabello humano, el vapor de agua fue simulado con una combinación de algodón y laca para el pelo, para simular los árboles en flor se usaron 250.000 palomitas de maiz pintadas a mano , el pelo de Coraline fue implantado con especial cudado fibra a fibra ya mano… y así innumerables, técnicas artesanales para dar vida a esta historia. Including the home was constructed by some 70 carpenters, clothing of the characters hand-woven with a thread of just the thickness of a human hair, water vapor was simulated with a combination of cotton and hair spray, to simulate flowering trees were used popcorn 250 000 hand painted, hair was implanted with special Coraline cudado fiber to fiber by hand ... and countless craft techniques to give life to this story.

HOW TO SUPPORT THE ARTISAN 3D

However, one of the most common techniques used by Selick was amazing in this film for facial animation and gestures of the characters. The director wanted to achieve greater fluency in the gestures of the characters and therefore opted for the technique already used in The Nightmare Before Christmas, modeling each term consisting of individual parts, that the exchange gave rise to progressively changing and animated facial expressions . But in this case Selick wanted to go further and achieve even greater fluidity, which would have meant thousands of models crafted by sculptors for several years. Such a task, which had largely gone out of the budget, was simplified by using 3D techniques.

, mediante una técnica denominada RP (rapid prototyping), que usa una resina líquida que seca a base de rayos UV y modela a base de finas capas . This group used a 3D modeling computer recreated each and every one of the numerous facial expressions, and instead of being carved by hand were "printed" with 3D printers, through a technique called RP (rapid prototyping), which uses a liquid resin that dries UV-based and model-based thin layers. In this way we obtained the "sets" of facial animation that each facilitator would then combine to create each facial expression and interpretation of the characters.

In addition, each face was modeled on two parts, one for the upper face (eyes, eyebrows, forehead) and one for bottom (nose, mouth), so that the union between two pieces had to be deleted in post in every scene. In addition, each piece must be colored by hand, highlighting the work of painting each character Coraline freckles on each of the models.
3D animators, not only engaged in modeling the "sets" of faces, but also supplied the Stop Motion Animators by listing the sequence of "sets" to be used in every scene. Thus the traditional leaders could devote more time to the details of body animation and other details being released part of the facial animation process.

TECHNICAL recording and postproduction

Not only were used 3D techniques in developing the film, but is also shot with stereoscopic technique to be played in theaters equipped for 3D projection. In particular was shot with two cameras Redlake , industrial high speed cameras used for the study of impacts on the automotive and aeronautics.

The film postproduction consistión mainly in the deletion of all remaining items such as cables, frames and "rigs" that were used to hold the puppets, as well as the deletion of the joints of the upper and lower faces of the characters.

Besides atmospheric effects like flames from candles, fire and smoke were necessarily added in post.
It also was necessary to stabilize some shots due to involuntary movements that could occur in the same shot as it rolled over several days or weeks.
In this video of Adam C. Sager, a post-production technicians who took part in the film, you can see a sample of the type of post that required the film.

It is definitely a movie worth seeing, not only by the impressive technical process behind it, but because this is a story well told, dark with many reading levels also accompanied by an impeccable aesthetics. It is appreciated a bit of craftsmanship among both digital process.

Add to blogroll EfectoHD an interesting and veteran Blog, Dimensión 2.5 , where you can find many resources devoted to 3D and VFX. News, interviews and an admirable record in the daily publication interesting links and information on all these issues that interest us. Highly recommended.

Philips recently announced its new 21:9 aspect ratio TV and cinematic proportions, ultimately spectacular. And he did it with a performance no less spectacular. l, un spot promocional, expresamente creado para la web que destaca por su complejidad visual, cuajada de efectos y recursos de postproducción, con los que se logró un plano secuencia de 2:19 minutos que hace un loop infinito sobre sí mismo. In e l microsite dedicated to the promotion of these giants can find the movie Carouse l, a promotional spot, created expressly for the site that stands out for its visual complexity, curd and resources post-production effects, was achieved with a sequence shot 2:19 minutes of making an infinite loop on itself.

Not only is a sequence shot, but also recreates an action scene "frozen" in time. Before reading the article, the ideal is to see the spot: Carousel .

From the point of view of the post is interesting to analyze the various techniques used. The director Adam Berg, gives a good account of it in an interesting interview with fxguidetv .

l, otros con technocranes o grúas robotizadas y otros con dollies. The film is shot in seven parts, three of them with camera motion contro l, others technocranes or robotic cranes and dollies others.

participantes para mantenerse i nmóviles durante la diversas tomas. The effect of frozen time is achieved, first, thanks to the ability of participants to keep 60 players i nmóviles during the various shots. On the other hand the various CG elements in post ñadidos such as explosions, floating notes, the flares of arms and broken glass, will also help that feeling.

The work of tracking was instrumental in adding 3D elements, as well as to recreate the perspective of the ground, because it was necessary to clear the entire route of the traveling routes of the cameras that are around the time of filming.

, que no eran pocos precisamente, pues para mantener a los actores inmóviles y otros objetos flotando, fue necesario montar una compleja estructura de cableado. A good job of rotoscoping and paint tools or redrawn, it was also necessary to remove each cable and undesirable element of the scenes (wire removal), which were few precisely as to keep the actors and other objects floating motionless, it was necessary assemble a complex structure of wiring.

All the filming was done at 50 fps and then be slowed down, because this way the actors did not have much time to be still. Moreover cameras with robotic movements had a dual role, first ensure that no change of speed and perspectives among any of the seven shots that are strung with Microfund. For another, the motion control was used to shoot several times the same plane and thus achieve different "plates" or layers of image, without the presence of accessories such as cables which supported the actors, in this way is much easier deletion of these elements.

In cases where no motion control was used between shots, such as the transition in which the camera goes into a hallway through a door, used resources to address the shortcomings of tracking who did not complete the work. In this case volume yielded an explosion that conveniently cover the entrance to the hall. For post-production software was used Flame and Maya 3D was CRADA with.

The spot has been built entirely by European companies. He was shot in Prague and produced by London-based company Stink Digital and publcidad agency Tribal DDB Amsterdam . The 3D effects of explosions and flares were carried out by the Swedish company Magoo Studios 3D post-production while qe was done in the Swedish company also Redrum Postproduction .

For several days EfectoHD has experienced a significant increase in the number visits through a post published in Aetuts, the renowned portal for After Effects.

The post entitled 15 Top International Sites After Effects Tutorial, make a collection of 15 non-English language websites dedicated to After Effects, and although EfectoHD encompasses much more, is welcome that has been included in the TOP 15.