tag:blogger.com,1999:blog-7005242.post113184113858766262..comments2024-02-27T02:14:14.789-06:00Comments on Keith Lango Animation: Character Supervisors revisitedKeith Langohttp://www.blogger.com/profile/12496328772372705317noreply@blogger.comBlogger5125tag:blogger.com,1999:blog-7005242.post-1132128371933031632005-11-16T02:06:00.000-06:002005-11-16T02:06:00.000-06:00If you go to Michael Barrier's site, he talks abou...If you go to <A HREF="http://www.michaelbarrier.com/" REL="nofollow">Michael Barrier's</A> site, he talks about this subject regarding Disney back in the day. His most recent entry (from September) refers to an August 26th entry (he doesn't have individual links to his posts) on multiple actors performing one character. There's some more in his posts, but you'll just have to poke around. Very interesting conversation, I have to say.Ward Jenkinshttps://www.blogger.com/profile/05013085293679968596noreply@blogger.comtag:blogger.com,1999:blog-7005242.post-1132108998985904522005-11-15T20:43:00.000-06:002005-11-15T20:43:00.000-06:00The character/team system is actually pretty loose...The character/team system is actually pretty loose on Open Season.Anonymousnoreply@blogger.comtag:blogger.com,1999:blog-7005242.post-1131935621713188742005-11-13T20:33:00.000-06:002005-11-13T20:33:00.000-06:00In CG often times a facial or phoenetic shape libr...In CG often times a facial or phoenetic shape library for a character is created by a lead or senior animator, then approved by the animation director/supervisor. This shape library is then used by the animation team in production shots. It's like soup stock. You're not going to just mix up chicken broth and serve it, and in the same way you're not likely to just use the shapes from the library as is. Instead you'll use them as a starting place, a default basis from which you can customize the face or speech for a specific shot.Keith Langohttps://www.blogger.com/profile/12496328772372705317noreply@blogger.comtag:blogger.com,1999:blog-7005242.post-1131871924751631482005-11-13T02:52:00.000-06:002005-11-13T02:52:00.000-06:00Actually, I believe Disney doesn't work like that....Actually, I believe Disney doesn't work like that. They had character supervisors that worked solely on their character, on the most important shots (with one or two exceptions). Nick Ranieri for Buck Cluck, Jason Ryan for CL, Tony Smeed for Ugly Duckling, etc. Then there was the animation team, who just animated all characters in a shot on a shot by shot basis, and turned to those supervisors for advice on each character. I know that some would prefer to do it the way you've described it, but I don't think they're doing that right now.<BR/><BR/>And about the strong acting vs. consistent character. First of all, a supervisor is going to give his shots to the animator best suited for the job anyhow. Secondly, if you spend months and months and months working on one and the same character, you'll get to know it so much better, imo, and they'll start to act it out for you. I've heard that Glen Keane says this, that there's a point where his character turns real for him, and that he can almost see him walking around the room, and that the acting then becomes natural.Benjamin De Schrijverhttps://www.blogger.com/profile/04113326323094548928noreply@blogger.comtag:blogger.com,1999:blog-7005242.post-1131846391468763002005-11-12T19:46:00.000-06:002005-11-12T19:46:00.000-06:00Interesting thoughts. Hwever a good supervisor kno...Interesting thoughts. Hwever a good supervisor knows enough to make sure they get animators of all skills and strengths on their team. So casting still happens in a character team environment. <BR/><BR/>As for sequels, who knows? I don't know that one way or another favors the successful milking of a cash cow. Heh.Keith Langohttps://www.blogger.com/profile/12496328772372705317noreply@blogger.com