![]()
It was not yet clear if it would qualify this year. Meanwhile, “Apollo 10 ½” isn’t the only recent animated feature that has a direct relationship to live action footage, as A24’s “Marcel the Shell With Shoes On” uses stop-motion animation in live-action environments. “Live action as reference is just one element of it.” “At the end of the day, rotoscope animation is much more handmade than most CG films,” Linklater said. #TALKING SUBMARINE CARTOON MOVIE#Produced for under $20 million, the movie stands apart from the muscular technological resources of other animated contenders this year such as Pixar’s “Turning Red,” which has a reported budget of $175 million, or last year’s Disney-produced winner “Encanto,” which made for $120 million-$150 million. “Apollo 10 ½” was made by animators from Austin’s Minnow Mountain and the Amsterdam-based Submarine, which handled the rotoscope. “But clearly, this is one category that’s run by corporations.” “That loosened up for one weird slot,” he said. He noted that the next year, Hayao Miyazaki’s “Spirited Away” won the category as it expanded from three to five slots. The eventual nominees were “Jimmy Neutron: Boy Genius,” “Monsters, Inc.,” and “Shrek,” which won. The Academy launched the Best Animated Feature category for the 2002 ceremony, the year that Linklater’s fully rotoscoped “Waking Life” sought consideration. Linklater’s other previous animated outings, “A Scanner Darkly” (2006) and “Waking Life” (2001) were made during a period of evolution for the recognition of animation during awards season. The animated feature guidelines have been revised several times, with specific reference to motion-capture technology added in the aftermath of James Cameron’s “Avatar.” However, the challenges for rotoscope predate that development. “We entirely reject the outdated and discriminatory notion that, in an industry dominated by the technical advancements in big budget CGI 3D films, some traditional animation techniques are less pure or authentic even after they meet the technical requirements for consideration,” Linklater wrote. He also took issue with the implication that an animation technique employed by the medium for decades could impact eligibility over others. #TALKING SUBMARINE CARTOON SOFTWARE#“It is accomplished by the hard work of animators drawing character motion and performances frame by frame, not a side effect of some hidden software or automatic process.” “This naturalistic style is not a technical choice but rather an artistic choice in the crucial area of how I want the film to look and feel,” Linklater wrote. In a letter to the Academy reviewed by IndieWire, Linklater explained how the frame-by-frame redrawing of live-action reference in “Apollo 10 ½” mirrored the animation pipeline of two recent animation features accepted by the Academy as submissions, last year’s “The Spine of Night” and 2017’s “Loving Vincent,” which received an Oscar nomination. “I’ve been producing rotoscope animation for 25 years, and I’m done with people telling me it’s not animation. “I feel like if I’ve been caught in a Kafkaesque nightmare where someone is saying something isn’t real and I know it’s real,” he said. Everything else is animated.” Pallotta also produced the movie and oversaw the animation production flow he said he was despondent about the Academy’s decision. “The only rotoscope in the film is the outline of the characters,” said Pallotta in a Zoom conversation from his office in Los Angeles. Watch a behind-the-scenes look at the animation technique below. #TALKING SUBMARINE CARTOON TV#Animators used the 2D computer program TV Paint to trace the live-action footage of the actors, but filled in every other detail, including the surrounding environments, lighting, colors and other movements. In the meantime, the filmmaker and his animation director Tommy Pallotta are speaking out about what they perceive as an ingrained bias against the rotoscope technology, which was applied to less than 20 percent of the movie. The Academy declined to comment, but matters of eligibility are expected to be assessed by the branch executive committee at some point this fall. Linklater and Netflix requested an appeal to the Academy’s decision on September 12 and haven’t heard back with a confirmed date to make their case, despite numerous followups. While the animation teams used live-action footage for reference, none of it appears in the movie. Oscars 2023: Best Animated Feature Predictions Steven Spielberg Has the Best Picture Oscar Frontrunner. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |