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Soom wrote:

Paul Fierlinger wrote:Do you know if all the animators were working with TVP? Because my guess is probably not and if that is the case, how does a production like this get coordinated if animators not only don't know each other but most likely didn't even use the same pipeline?

All worked on TVP with no exception. Not knowing each other is normal these days - most big productions employ freelancers that work distantly. But in the terms of style it was very important for most of us to work in-house for a while just to get into the head of the directors.

We should do an user-story, at least when we will see the film.
(It used to be one of my favorite book when I was a child ... )

Paul Fierlinger wrote:Amazing -- and no one here knew. You must have a secret handshake. Where is in-house; which country/city? The film seems to hail from sveral countries.

Where is "here"?
In-house was in Berlin, thats where the main production was done. Schesch was a producer of the "Three Robbers" also. Some BG and animation work was done in Ireland in Cartoon Saloon too. Some cleanup was also outsourced to the far east I think. Probably other things were outsourced too.
I got on the project because I worked with Cartoon Saloon before, and was hired by them and only later I continued working with Schesch in Berlin. Secret handshake is something everybody needs to get a job I suppose ... It was a big international team, I suppose all know each other somehow through somebody through other productions.
I'm not sure though how much info I can spread about the production itself - I think for insights would be better to talk to the producers. Suppose they would want to keep some secrets to themselves

I understand; I guess I was mainly curious where you are from.
From what you tell us it seems to validate the stories that there is a worldwide shortage of classical 2D animators, and particularly now, when hand drawn animation is going through a revival. Would you agree?

Paul Fierlinger wrote:I understand; I guess I was mainly curious where you are from.
From what you tell us it seems to validate the stories that there is a worldwide shortage of classical 2D animators, and particularly now, when hand drawn animation is going through a revival. Would you agree?

I'm from everywhere - lived in many different parts of the world
I would say there is a shortage of good 2D productions also. I guess it's related. Less productions – less animators...

one more question :

The "look" of Moon Man was this one in the book :

Did the realisator keep the same ?

Fabrice wrote:Did the realisator keep the same ?

It seems

The style was tried to be kept as close as possible to Tommi Ungerer, but it's always very difficult when translating a small book to a feature film. I think the production did it's best to keep the characters, the animation and the backgrounds as close as possible to the original. It's a very moody and illustrative film. We, the animators, were asked to keep the animation kind of a living illustration - "Less is more" was the directors key saying

it should have been a pretty difficult challenge, because if I remember well my chilhood, the book was less than 20 pages ...

Some FX, by Matthieu Scanlon

WOW! Nice one!

http://www.cartoonsaloon.ie/2012/06/fea ... -moon-man/ (Via Elliot Cowan on twitter)

I saw this posted on Cartoon Brew tonight:

http://www.cartoonbrew.com/shorts/ad-lu ... illon.html" onclick="window.open(this.href);return false;

The filmmaker , Ghislain Avrillon , writes of 'Ad Lucem' :

"It is a traditional 2D animation (ie animated frame by frame by hand). In detail, I did not draw on paper but on a graphics tablet with TVPaint software, a powerful digital tool for traditional technique."

http://adlucem.fr/infos.html" onclick="window.open(this.href);return false;

by students from the French school "EMCA".

So refreshing and innovative in style and concept! It is such a pleasure to see a film coming out of a school where the students are obviously encouraged to take risks and find new ways of expressing themselves. I particularly like the economical editing and camera moves in and out of black limbo. This is a perfect example of how to effectively handle the time constraints of class productions; congratulations!

Such great finds! They both have an interesting visual approach. I particularly like the second one.