Gen­ndy Tar­takovsky

ImagineFX - - Imagine Nation -

The Ho­tel Tran­syl­va­nia direc­tor

passes on his ad­vice…

… on what makes a good CG an­i­ma­tor

What I’ve no­ticed in CG an­i­ma­tors is that if they can draw, or if they have an un­der­stand­ing of drawing and the sen­si­bil­i­ties of drawing, then they’re good CG an­i­ma­tors. The ones who know the com­puter well but don’t have the foun­da­tions – es­pe­cially for the way I want my films to be an­i­mated, which is from a 2D aes­thetic – they strug­gle. And I think, “Okay, you’re just pup­peteer­ing, rather than re­ally drawing in the com­puter.”

…on cap­tur­ing a per­for­mance

I’m not a great drafts­man, but I have a knack for pos­ing and an­i­ma­tion, and the two def­i­nitely go hand in hand. I see some peo­ple who are great an­i­ma­tors, but their draw­ings aren’t as strong, and vice versa where some peo­ple are amaz­ing drafts-peo­ple, but their an­i­ma­tion un­der­stand­ing – which is a per­for­mance of sorts – isn’t at the same level.

…on flesh­ing out the vi­su­als

As I an­i­mate or draw it’s al­ways “Ka-boosh!” when drawing ac­tion. Mu­sic also helps a lot: ob­vi­ously, mu­sic has a great nat­u­ral rhythm, so I try to fol­low it. When we’re com­ing up with char­ac­ters we do a voice: “Maybe it could have some­thing like this high-pitched squeak?” and then you pitch it with that idea. You try to flesh out the vis­ual with all the tools you have, and au­dio’s a huge tool that we use and em­brace.

…on his own work ethic

I try to keep my point of view as pure as I can. It’s all about that point of view – it’s all I have – and so I try to cre­ate the purest vi­sion I can de­liver on to the screen.

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