The Incredible Art of Animation A Living Art Form (1971) [Full Film, 16mm 4K Sca
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Art et designTranscription
00:00C'est la fin de l'épisode.
00:31C'est John Carradine.
00:33Explorons cet art de l'expression créative.
00:37Depuis la naissance de la civilisation,
00:39l'homme a pu dessiner.
00:42Le Cro-Magnon a laissé une histoire graphique
00:44de ses premières aventures et de sa survie.
00:47Il a même essayé de décrire un mouvement
00:49dans un seul dessin.
00:51Les Dvébéloléens et les Grecs ont utilisé
00:53une forme élaborée d'illustration animée
00:55pour se rappeler,
00:57et laisser un record précis
00:59de leurs vies et de leurs temps.
01:02Avec la caméra d'animation d'aujourd'hui,
01:04nous avons une forme d'art animé
01:06appelée photographie de stop-motion.
01:08En utilisant la fonction animée
01:10Shinbone Alley,
01:12nous allons examiner cet incroyable
01:14art d'animation.
01:16C'était Shakespeare qui disait
01:18que le jeu est le truc.
01:20Nous commençons donc avec les œuvres
01:22de Don Marquis, écrivain, poète
01:24et journaliste.
01:26En 1920, Marquis Maxime
01:28était si loin de son époque
01:30qu'il a dû créer un poète
01:32qui s'appelait Archie
01:34pour écrire sa propre philosophie.
01:36Dans les mots d'Archie...
01:46Les gens pensent qu'ils sont
01:48quelque chose de bien,
01:52mais pour un mosquito,
01:54c'est juste quelque chose à manger.
01:57Pour apporter Shinbone Alley
01:59à l'écran, c'est un processus
02:01si compliqué qu'il a fallu
02:03un travail d'équipe unique
02:05de créativité et de production.
02:10Weston Feet et John Wilson,
02:12les producteurs de Feet Here,
02:14s'unissent avec les écrivains
02:16Dick Kinney, Marty Murphy
02:18et David Détige
02:20pour développer l'écran original
02:22de Joe Darien.
02:27Il a été décidé dans les premiers
02:29rencontres que l'art, le design
02:31et la couleur du futur devaient
02:33être contemporains,
02:35une expérience de jazz visuel.
02:37Il devait être visuellement
02:39délicat et rester vrai
02:41à la prose et aux pensées
02:43d'Archie.
02:45La création du design
02:47pour Shinbone Alley
02:49présentait un problème unique.
02:51Il s'est décidé de prendre
02:53les originaux cartoons
02:55des années 1920
02:57et les révéler
02:59dans un style contemporain
03:01pour voir ce qui se passait.
03:03C'était le déroulé.
03:05Et bientôt, le style
03:07de l'écran a été réalisé.
03:09Après des mois d'expérimentation,
03:11Shinbone Alley a commencé
03:13à prendre vie.
03:15C'est un plan d'histoire
03:17qui dépique graphiquement
03:19chaque scène de l'écran.
03:21Ce n'est pas comme un grand
03:23spectacle.
03:25C'est une réalité visuelle.
03:35Dans la salle de musique,
03:37Joe Darin et le compositeur
03:39George Kleinsinger
03:41mettent les touches finies
03:43aux lyriques et la musique
03:45de Shinbone Alley.
03:53Les réalisateurs adaptent
03:55les écrans de production
03:57aux finales lyriques
03:59de l'écran.
04:01Une date d'enregistrement
04:03est prête.
04:05Ici, deux des stars,
04:07Carol Channing
04:09et Eddie Bracken,
04:11sont préparés
04:13à enregistrer
04:15avec un magnifique
04:17enregistrement.
04:19John Wilson
04:21enregistre la scène
04:23avec Carol Channing.
04:25Il explique l'action
04:27dans chaque scène
04:29qui permet aux stars
04:31d'obtenir la bonne interprétation
04:33des personnages.
04:35Est-elle en colère
04:37ou triste?
04:39Est-elle pensée
04:41ou gaie ou folle?
04:43Une fois que la séquence
04:45se sent bien,
04:47l'enregistrement commence.
04:49Chaque séquence
04:51est enregistrée
04:53sur du tapeur
04:55de 8 tracks,
04:57qui est ensuite écrite
04:59pour la picture.
05:01L'animation est enregistrée
05:03dans le soundtrack.
05:05Carol Channing, Eddie Bracken
05:07et moi enregistrons
05:09l'enregistrement.
05:11Come, little pigeon.
05:13Come to me.
05:15Oh, come to me
05:17now.
05:19Come to me
05:21now.
05:23I want you
05:25now.
05:27I want you
05:29now.
05:31I want you
05:33now.
05:35I want you
05:37now.
05:39I want you
05:41now.
05:47Thank my Hannibal!
06:03Here George Climpson
06:05directs the Fine Arts Hollywood Orchestra
06:07from the score of the picture
06:09as Eddie sings one of Archie's songs.
06:13No little blighter.
06:15Now, boss,
06:17that morgue
06:19was a pull, I guess,
06:21but there's one thing
06:23I can't deny.
06:27I wish
06:29there was something
06:31in this world...
06:33One of the big numbers
06:35that has life in the old game yet.
06:41I got a limp
06:43in my left hand leg.
06:47But there's life
06:49in my head for yet.
06:53Oh, you can yell
06:55when the joy gets down.
06:57There's a dance or two
06:59in the old girl's head.
07:01As long as time
07:03in the old girl's head.
07:09My heart's
07:11been broken
07:13a thousand times
07:15and I've been
07:17through the mill.
07:19A lot of times
07:21have come and gone.
07:25But I'm a lady
07:27still.
07:29Oh,
07:31take a rest, take a moment.
07:33There's a dance or two
07:35in the old girl's head.
07:37For the time's
07:39nearly over, all's to do.
07:41There's a dance or two
07:43in the old
07:45girl's
07:47head.
07:53Alvin Reed plays the part of Big Bill,
07:55the cognoscenti of the alley arts.
07:59Suppose I just
08:01flick him a little ways.
08:03Well,
08:05a little ways might not hurt.
08:07Yeah, yeah,
08:09a little ways, yeah, that would be,
08:11wait a minute, what am I saying?
08:13Mehenable, what are you saying?
08:15No, no, no,
08:17no, no, not by the antenna!
08:21Over 200 music cues must be recorded
08:23and transferred to 35mm
08:25magnetic film.
08:27Now we're ready to go into full production
08:29as the picture must be animated
08:31to the soundtrack.
08:33This is the layout department of Fine Arts Films
08:35where all the animation action
08:37is planned.
08:39Rosemary O'Connor is the first to begin
08:41staging the picture.
08:43Her job is to develop an environment for our stars.
08:53The back alley where all the cats live.
08:55Mehenable's home,
08:57the newspaper office where Archie lives and works.
08:59When the layouts are completed,
09:01they then go to the background department
09:03where they're cleaned up and transferred
09:05through celluloid sheets.
09:07Then color is added appropriate to the mood
09:09of the scene.
09:11Gary Lund sets the overall color styling
09:13and look of the picture.
09:15What color should our stars be painted?
09:25Who would believe a cat can be painted blue?
09:27Or yellow?
09:29Orange?
09:31How about purple?
09:43While the backgrounds are being painted,
09:45the directors on the picture
09:47begin to time out the various scenes.
09:49Now the animators
09:51check in with the directors
09:53throughout the elaborate process of animation.
09:57Here director Wilson goes over a couple of the sequences
09:59with Bob Bransford,
10:01a key animator on the picture.
10:15This is called an exposure sheet.
10:19Each frame of film is represented in numbers
10:21and the director
10:23pinpoints the exact frame
10:25where a particular action is to occur,
10:27which will be exposed under the camera later.
10:35In order for Archie and his friends to come alive,
10:37more than 400,000 drawings
10:39and exposures must be made.
10:51An animator must be my nature,
10:53an actor with a pencil.
11:15As each scene is completed,
11:17it is sent to the checking department.
11:19Where the checkers make sure
11:21that the drawings are completed,
11:23that the paint separation lines are indicated,
11:27and that the exposure sheet
11:29gives the camera department
11:31full and complete instructions
11:33as to what is occurring in each scene.
11:49Once this is done,
11:51the scene is then checked through production control
11:53by Chris Decker,
11:55who coordinates the scenes
11:57throughout the various departments.
12:05They are then sent to the Xerox department,
12:07where each drawing is transferred
12:09to a celluloid sheet,
12:11or cell as it is called.
12:19Being transparent,
12:21the painted background
12:23will be clearly visible behind the characters
12:25as they perform.
12:33The Xeroxed cells
12:35then go to the ink and paint department.
12:37Here, more than 50 young ladies
12:39appear to be working
12:41on the Xeroxed cells.
12:43The Xeroxed cells
12:45then go to the ink and paint department.
12:47Here, more than 50 young ladies
12:49apply their colors
12:51to each of the thousands of cells.
12:59A fantastic rainbow of colors
13:01must be carefully mixed and matched
13:03to the original color model sheets.
13:09Here, Connie Crawley,
13:11head of the ink and paint department,
13:13checks the completed inked and painted cells.
13:15She makes sure that each character
13:17is painted correctly,
13:19and that all of the cells are accounted for.
13:45As the scenes are completed,
13:47they are sent to the camera department
13:49where the painted cells are photographed
13:51against the proper background,
13:57one frame at a time.
14:01Here, Gene Boggy,
14:03head of the camera department,
14:05sets up one of the many scenes
14:07from Shinbone Alley.
14:09Placing the inked and painted cell
14:11of May Hittabel over the background,
14:13Gene Boggy
14:15sets up a frame of film.
14:17Before each shot,
14:19the platen is forced down
14:21upon the cell setup
14:23through a vacuum pressure.
14:25This eliminates any wrinkles
14:27or highlights that might show
14:29should the cell be uneven.
14:31The exposure sheet
14:33gives the cameraman
14:35the following information.
14:37One, the field size,
14:39or how close to the character
14:41is the pan or moving background
14:43behind the action.
14:47When the photographed scenes
14:49are returned from the laboratory,
14:51they are put together by the editing department.
14:57Here, director John Wilson
14:59and editor Sam Horta
15:01go over the continuity.
15:03As you can see,
15:05editing is a serious task.
15:07Sometimes it is necessary
15:09for overall timing and pacing.
15:11When the sequence
15:13is being edited to length
15:15and synchronized or synced up
15:17with the dialogue track,
15:19it is then time to add the sound effects
15:21and music tracks,
15:23often as many as 10 different tracks.
15:35After a period of 18 months,
15:37all the backgrounds,
15:39special effects,
15:41ink and painted cells
15:43have been photographed and edited.
16:07With the support of
16:09the French National Film Festival
16:11and the French National Film Festival
16:13and the French National Film Festival
16:15and the French National Film Festival
16:17and the French National Film Festival
16:19and the French National Film Festival
16:21and the French National Film Festival
16:23and the French National Film Festival
16:25and the French National Film Festival
16:27and the French National Film Festival
16:29and the French National Film Festival
16:31and the French National Film Festival
16:33and the French National Film Festival
16:35to work.
16:57The feature is now ready
16:59To be dubbed
17:01with its final soundtrack.
17:05qui apparaît à l'extrémité de la photo complète.
17:35Je n'ai jamais pu vivre en tant qu'animal.
17:40Mais je suis une femme, en l'espérant.
17:45Il y a de la vie dans l'ancien jeu, oui.
17:49Un défi de wizarderie électronique
17:51qui va garantir la qualité complète de la musique et des voix.
17:55Maintenant, la photo est prête à être publiée et relâchée.
18:00Comme vous pouvez le voir,
18:01l'art de l'animation incroyable est une forme d'art vivante.
18:31Sous-titrage Société Radio-Canada