How many scenes have you animated,
and how long did it take to complete? In over a year,
Read More">I’ve worked on about twenty five shots which are quite a few. The weekly quota of animation that each animator had to produce was four seconds by studio law. This was one of the best production-pipelines that
Read MoreHow many scenes have you animated, and how long did it take to complete?
In over a year, I've worked on about twenty five shots which are quite a few. The weekly quota of animation that each animator had to produce was four seconds by studio law. This was one of the best production-pipelines that we had in France. It took two years to make the film, but if you take pre-production and pre-visualization into account, it would add up to more than three years. The animation phase of the film itself lasted for a year and three months. With the success of Despicable Me, the studio in France is getting a lot more projects, and we're basically outsourcing from the Americans. Long before, Walt Disney studios outsourced work in Paris and now, people from Illumination believe that France is capable of churning out good films. This has happened for the first time in ten years to the French animation industry.
Are you comfortable working with Manga, Disney or any other animation style? What do you prefer?
To be honest a good animator should be able to animate any kind of style put forth and if you really like animation, then the style shouldn't matter. If I get a project that calls for Manga style, I'll work with it. I've been studying Japanese animation and I love it, I like the American style as well. I would say I prefer Manga by watching, but by doing I like both the styles. Since I know both ways of working, I can make my animation smarter sometimes by adding a little bit of one with a little bit of the other. It's like cooking food; you mix in the ingredients to make it good, the fusion of both styles would be my favorite style.
The longer I work in the industry the more I start to treat both 2D and 3D in the same light, because it's only the flat picture in the end that counts. Whether its stereoscopy or not, animation will remain the same. We need to think of it this way. A good movie to me should balance the shot, the intensity of the shot and the style should always serve the story that's the most important thing as an animator. For my projects and short films I try to apply this fusion which makes the piece richer.