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Sarah de Gaudemar shows off her work on Coraline at KCAI.

Sarah de Gaudemar (aka Sarah Meyer) pays a visit to the KCAI animation department to discuss the work she had done on the latest stop-motion epic from Laika, Inc. A little film called Coraline.

Sarah talked about working under the scrutiny of the one and only Henry Selick and her specific roles on the project. Her main responsibility was the cat character, along with other characters that would appear in these scenes, as well as multiple other bits and pieces, such as Coraline hand close-ups, tests and development for things like bed covers, Coraline’s toys, etc.

Everyone is always excited to have Sarah visit because she is just a die hard animator, she knows what people that share her interest want to see so every time she visits everyone’s motivation level shoots up a notch. Thanks again for taking the time to stop by Sarah!

look: Michiko to Hatchin

There are few studios and people that get me excited to hear about something new, and Manglobe is definitely one of them.

Michiko to Hatchin is a great new TV series brought to you by the people that were responsible for Samurai Champloo and Ergo Proxy, as well as many other bits of animation.  Directed by first time director (long time animator and storyboarder) Sayo Yamamoto. She is working alongside the talent of many animators, character designers, and even the director and creator of a little series called Cowboy Bebop. Shinichiro Watanabe is the music producer of the series, proving further that anything he has a hand in turns to gold. The music plays an important role in this series just as it did in Bebop and Champloo. Meaning it is an absolute perfect fit for every sequence in the series, I think Watanabe is the only person that could give Wes Anderson and Sophia Coppola a run for their money.

Check out the title sequence:

I have seen up to episode 15 (Edit: 17) and I can’t wait to see more.  It is 1 part Cowboy Bebop, 1 part Samurai Champloo, baked with a little bit of City of God.  It has such a since of playfulness that any animator can appreciate.  They aren’t afraid to leave the standard style behind for a minute and have some fun with the look and feel of a scene.  One of the best parts about this series is a strong since of influence from films like City of God, and the more recent City of Men.  Fernando Meirelles seems to definitely have some influence here in some form or another.  The range of characters is also phenomenal.  From the 2 very different title characters (Michiko is kind of like a much crazier female and Brazilian version of Spike Spiegel, with Hatchin or “Hana” a very quiet younger girl with high sense of morality) to the huge range of characters they run into along their little journey, I was rarely dissappointed.

I don’t have time to really do a proper review, but definitely check out this one by Tim Maughan, Michiko to Hatchin 1-5 (2008-2009) Review.

I am so glad to see that there are smaller studios in Japan that couldn’t care less about the vomit inducing mainstream animation scene in Japan. Like the great films and series before it, it is a shame that Michiko & Hatchin doesn’t get more recognition.

[Michiko to Hatchin]
[Manglobe]

labs: storyboard templates pack. . .

I have done a little bit of re-configuring and provided BLANK title and name .PDF’s for people that might not have Illustrator.



click images for previews of what is included

All zipped up in a single pack

Download:
UPDATE: Download 2010 version…
andoru_2009_storyboard_pack.zip
[1.19mb .zip file] (includes Illustrator and .PDF files)

For those using the Illustrator (.ai) files please make sure to change the Title at the top and the Name at the bottom to avoid looking foolish. It takes 2 clicks and 5 seconds.

click image for preview

Enjoy! Leave me donations! Feel good about yourself!

listen/look: Towa Tei. . .

Pop music isn’t bad, it is just ruled by a bunch of twats. Throw a little electricity in there and all will be fine. Came across this video on Motionographer saw that Miho Hatori was involved, and I was sold. I really liked the video so I did a little research of my own and was incredibly pleased with what I found.

Goes to show what is possible with a fairly basic and really crazy idea, some fine tuned editing skills, and some nice looking animation. Something about this I just really like, I have been a big fan of Miho Hatori for a long time, something about this type of music combined with her voice is just magical.

He has been responsible for many great things in my lifetime, and I am just now learning about it, what a chump I am. If you have the internet chops, make sure to check out the Last Century Modern album. And let me know if you discover anything else. Not a lot out there from the normal music vendors, so I may try to do a little digging for more.
towa tei
Enjoy! Looks like there may be a new album in Feb. according to my research.

You may have to do a little searching to listen to more.
[WIKIPEDIA]
[MOTIONOGRAPHER]

look: Ghost in the Shell 2.0. . .

gits opening 09
click to view full size

I just had the opportunity to check this out, and I must say I was very surprised to see something like this, and there are some things I definitely like and some things that just don’t quite fit. Still, going back to re-work something like this is quite an undertaking, and I have found that I really like some of the changes, the overall color scheme shift really does change the mood of certain parts of the film. And the new audio is absolutely phenomenal in most cases.

From what I have heard, the changes were mainly motivated by Oshii himself.

gits opening 10

click to view full size

As an animator that absolutely loves both the original, the sequel, and the the series, I have to say I find some of the enhancements to be extremely well done. The only thing out of the entire thing that really bothers me is the recreation of Motoko in CG for the opening. It was done in a way that actually looks quite nice and it seems to make sense as an opening, but I definitely believe it would have looked better with enhancements on the compositing or re-done 2D animation (only the extended falling sequence would have had to be re-done) to better fit the new environments.

Something that is fantastic though, is how some of these changes have improved the cinematography, like many animated films of its time, Ghost in the Shell definitely suffered from the panning “moving” camera and immediate stop syndrome, having that alone taken better care of here is a great improvement for me.

gits opening 11
click to view full size

And as far as the environments go, I am a huge fan of the Interface and Environmental stuff that was done in Innocence, so I find the change to the opening score sequence to be quite an improvement. Something about the orange that really gets me, and it really works well for this world.

gits opening 16

click to view full size

Something that always bothered me about the original audio was that all of the English voice actors, except for the Puppet Master, were kind of lame, while all the Japanese voice actors, except the Japanese Puppet Master, were fantastic. This version uses the Female voice actor who played Haraway (woman with short white hair) in Ghost in the Shell 2: Innocence. I think Project 2501 works a little bit better as a female actually, although maybe a certain type of distortion in the voice or something would have added a little more. But it definitely makes more sense to me to have this self-aware entity taking on a voice that actually suits its current shell.

gits 2501
click to view full size

Again, I think with a re-work of CG Motoko, you would have a truly excellent re-telling of this story, the animation is already there, it is just the look that is present in the rest of the film that is missing there.

If I get crazy enough, I may say copyright be damned and do everything I can to re-create those CG versions of Motoko in a well composited 2D handrawn form, with the new environments.

I now have a side-project that will always be in the back of my mind. . .what do you all think?

Everything aside though, I must admit that I am a little nerdy for this whole thing, I really love the new orange look, many of the changes make it a better film for me, but my reasoning is pretty biased and specific. I am interested in what other people think, I am sure a lot of people will really hate the CG opening Motoko stuff, but all in all I don’t think it was done poorly, it just causes some of the emotion to change a little too much.

I still haven’t got to see The Sky Crawlers, and it looks like Oshii is going to be a Samurai film next about Miyamoto Musashi, awesome, there is a Teaser Site already up for that.

UDPATE:
Just finished watching the entire new film, and I must say, I really do think it is an improvement, the overall feeling that evokes is just stronger, the overall look, the sound, the characters, and everything else just seems to work better. I highly recommend checking it out.

[Pretty good overview of the changes made]
[Wikipedia]

look: Après la pluie. . !

Après la pluie (And it Rained…)

(a film by Charles-André LEFEBVRE, Manuel TANON-TCHI, Louis TARDIVIER, Sébastien VOVAU, and Emmanuelle WALKER.)

2d, 3d, incredible animation, color, environment, characters, technique, brings a tear to my eye:

“Après la pluie” / Making of / Manuel Tanon-Tchi from manu tanon-tchi

check out Emmanuelle.Walker, Manuel Tanontchi, and anyone else they happen to link to. Let me know what you all think because I am highly inspired. You should see much more out of me very shortly.

[GOBELINS]

andrew hake
one man thinktank

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