恶人谷

silkworm wrote:另，这长篇里的新“人物”，Phillip(lord的狗)在空中斗争一场里，小飞机没油了，摸出一个缀珠子的小钱包，掏出硬币投币。乐得我。

A Dog And His Man
Every second of this ast-houndingly winning new movie took hours of thumb-breaking work. But it's fun without paws
TIME magazine 10/10/2005

......And a second a day. That's about as much of this stop-motion animation epic as any one of the film's 30 animators at Aardman Studios in Bristol, England, could produce. Stop motion, as used in Tim Burton's Corpse Bride and Park's 2000 hit Chicken Run, is essentially a series of still photographs (running through the movie projector at 24 frames a second), and each tableau, which may contain dozens of Plasticine characters, must be posed and shot before the next one is begun. The animator's job is to get the humor and humanity in each shot. "Sometimes it's just the way Gromit moves his head," says Park. "There's a million ways he can look up, and [you're in trouble] if it's not just right and doesn't capture what you're after." The 85-min. Were-Rabbit has 122,400 shots, which explains why this mini-masterpiece took five years to make.

......Were-Rabbit is admirably old-fashioned in another way: while the rest of the animation world has gone to computer-generated (CG) features, 95% of this film is handmade.

Or, rather, thumbmade, since the animators are encouraged to leave their personal imprints, literally, on the characters. "Wallace and Gromit are designed to be animated with your hands and your fingers as much as possible," says Teresa Drilling, an American who joined Aardman for Chicken Run. "They've got just the right sort of nooks for your thumbs, so that gives it a very specific organic feel--thumby but funny."
Drilling was one of the animators working earlier this year as the shooting of Were-Rabbit raced to its close in the Aardman sound stage, a huge warren of 30 curtained sets, some that could fit on an office desk, some about the size of the model-train layout in your loner uncle's basement. Following each of the 24,000 hand-sketched storyboards that illustrate the scenes, the animator dresses the set, puts in props (tomatoes made of wax, teddy-bear fur painted green for grass), gives each character the subtlest facial makeover and takes the picture. Animators must also be actors. Often they record themselves performing the action they are about to execute, then consult the video as they adjust a figure's lips or brow.

This is microsurgery in a dollhouse, eight hours a day, with plenty of pressure; there are stress-relief posters in the hallway. But the mood is eerily calm. "Sometimes you knock something over and lose a lot of work," says Fabrice Joubert, who earlier worked on five DreamWorks cartoons, "but you have to be very Zen."......

zephyr wrote:我还以为只有六十年代的电影才用那种技术，多费劲呀。是不是现在的动画技术还做不了橡皮泥小人儿？钻石呢，钻石呢，给点专家分析吧。

小林 wrote:喜欢这只勤劳勇敢的小狗好几年了。 在网上订了这个浴室收音机， 可爱吧？