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Vidaextra
  • 30/6/2025

Categoría

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TV
Transcripción
00:00www.feyyaz.com
00:30They have to be represented from every possible angle and with every possible expression.
00:35Then, based on these drawings, a modeler creates a virtual sculpture of the character directly in the computer.
00:43First of all, the modeler builds an envelope in which he places a skeleton that will enable our actor to move.
00:49The same operations are applied to the face, but first we have to design elementary expressions in order to obtain the full range of emotions.
00:57At the same time, and once again on paper, we imagine the sets, accessories, and everything that makes up the Rayman universe.
01:09These drawings are then colored to add atmosphere and lighting that will serve as a reference for the following stages.
01:20The storyboard artist takes the script and breaks down the story into a series of drawings representing the shots that will appear on screen.
01:27It is at this stage that the directing begins to take shape in accordance with the director's specifications.
01:34The storyboard drawings and the recorded voices are synchronized, edited, and timed at an editing table.
01:41Now we can begin to visualize the scenes.
01:44Stop! You're getting nowhere with this freak!
01:47All right, listen, you, you, you, whatever you are.
01:50Rayman, and you are linguine, ravioli?
01:54I am the great rigatoni!
01:56I am the great rigatoni!
02:04The layout artists first construct a virtual set in which they position simplified models of the characters.
02:11Again, as in movies, they then position the cameras.
02:14All right, listen, you, you're going to have...
02:16The film begins to be animated in three-dimensional space.
02:19You are linguine, ravioli?
02:22I am the great rigatoni, and this is my circus.
02:26Nice place, though I wouldn't want to live here.
02:30The animation can now really begin, and our actors come to life.
02:36Just like a puppeteer, the animator defines the movements, gestures, and expressions of the characters.
02:42But everything is done image by image, as in traditional animation.
02:47Stop! You're getting nowhere with this freak!
02:50All right, listen, you, you, you, whatever you are.
02:52Rayman, and you are linguine, ravioli?
02:57I am the great rigatoni, and this is my circus.
03:02Nice place, though I wouldn't want to live here.
03:05Listen, wise guy, either you perform, or it's the circus dungeon for you.
03:10The virtual sets used for the layout are now replaced by high-resolution models.
03:17Textures are then created and applied to these volumes, a bit like wallpaper.
03:24Here again, just like on a film set, we position the lights and adjust their color and intensity
03:29until we find a balance between the characters and the sets.
03:33Special effects are added, and we get the final image as the spectator will see it.
03:38Then comes the post-production stage.
03:42The editing is finished, and the music and sound effects are synchronized with the image.
03:51And that's it.
03:52Stop! You're getting nowhere with this freak!
03:55All right, listen, you, you, you, whatever you are.
03:58Rayman, and you are linguine, ravioli?
04:02I am the great rigatoni, and this is my circus.
04:07Nice place, though I wouldn't want to live here.
04:10Listen, wise guy, either you perform, or it's the circus dungeon for you.
04:15And once freaks check in, they don't check out.
04:20Okay, let's see, we will keep playing around
04:21looks like you're staying right here.
04:23Next time we'll make a large pitch.
04:24All right.
04:24Let's say about TV.
04:25davon気.
04:26Just wait.
04:27Those pens, like this idea of your City, what you are, tuning in to be a little,
04:29town, just so many times, all the cables and even dozens of whiteboards,
04:36will see, if you are suddenly in cities.
04:38Have belum in the city.
04:39We'll see if you're at large mallet, we Waououlding city.
04:42We'll see how many new disres dressed down, they're the success.
04:46So much fun.