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Animation Magazine - - Frame- By- Frame -

3Eric Sum­mer & Éric Warin bal­le­rina tale Leap! dances into the­atres through The We­in­stein Co. Your Name., A Silent Voice, In This Cor­ner of the World, Ru­dolf the Black Cat and One Piece Film: Gold are com­pet­ing for the Ja­pan Academy Prize for an­i­ma­tion this year. [ja­pan-academy-prize.jp] Ground­break­ing films abound at SXSW (Austin) and the Tokyo Anime Award Fes­ti­val, which both be­gin to­day. [sxsw.com | ani­me­fes­ti­val.jp/en] Co. Kerry is the place to be for An­i­ma­tion Din­gle and the Ir­ish An­i­ma­tion Awards. [2017.an­i­ma­tiond­in­gle. com | iris­han­i­ma­tion­awards.ie]

an­i­ma­tion on The LEGO Movie and re­turned to the brick world as an­i­ma­tion su­per­vi­sor on The LEGO Bat­man Movie. “Stylis­ti­cally, what we’re al­ways af­ter is to try to con­vince or fool or trick the au­di­ence into think­ing they’re watch­ing real LEGO pieces move around,” he says. “There seems to be a way hu­man be­ings can project our­selves into these lit­tle toys, these lit­tle char­ac­ters and, as an­i­ma­tors, we’re try­ing to think about that when we’re an­i­mat­ing the char­ac­ters so the au­di­ence be­lieves they are see­ing the LEGOs come to life.”

A Play­ful Look One way the an­i­ma­tors achieved that ef­fect was by us­ing what Cole­man calls stepped keyed an­i­ma­tion, with changes be­ing done on twos, threes or even sixes, mean­ing the char­ac­ter is moved ev­ery two frames or three frames, etc. “We’re try­ing to make it look like you’ve got real LEGOs and you’re pos­ing a char­ac­ter and then you’re ad­vanc­ing the film a cou­ple of frames and then you’re mov­ing it again,” he says.

For ex­am­ple, Cole­man says in a di­a­log scene be­tween Bat­man and Robin, the an­i­ma­tors would move the body on fours or sixes and the mouth would be an­i­mated on twos.

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