BEHIND THE SCENES IN THE WORLD OF ANIMATED FILMS!
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Beautiful! I love to see more 90's films backgrounds. Those Disney folks knew what they where doing. I wonder how many of the background artists are on Princess and the Frog.
These are incredible
Thank you so much, very distinct styles. I really enjoy the way the trees create a graphic wall against the europeans-design w/ purpose! These provide a very tight location for animation,a lot of planning.Thanks again.
Wonderful! You are doing the lord's work my son -- bless you!
Wow, it's been a long time since I saw the movie--I didn't recall how spooky the forest scenes were. Beautiful!
Great lighting and colors! I have seen this movie 17 times already :)
These are amazingly beautiful, thanks for posting.
I'm argentina and studding Cartoons and animation. I love background and painting buuuuuuuut I've started recently. I hope drawing and colouring similiar to these wonders.Judy
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Your blog is amazing! I love each movie you've got! Disney i s one of my favorites!It is a nice point of view, backgorunds I love them!
Have you seen Alfred Jodokus Kwak? This a nice serie with also incredible backgrounds.Grtz,TJ
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Any chance we can get a translation on some of these posts?
These are great!! Thanks for taking the time to do this.
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dont' they use additonal lighting on the drawn up material, or is it really, they get what you paint?
I would like to answer the questions that Merkal and Simon O'Reilly have posed.To know which artists worked on Princess and the Frog, you'll need to check the credits to be sure, but I know that most of the painters assembled for Frog, were selected from the cadre that existed in the 90's, and early 2000's. Many were pulled from "retirement" as it were, and worked from remote locations in Florida, Tennessee, and Colorado as well as the studio in Burbank under the leadership of Sunny Apinchapong.As for Simon's question: In these traditional films, very little was done to alter the color or lighting after the background was painted. Perhaps I should say that very little COULD be done. In some rare instances, things could be touched up digitally to make corrections or alterations, but that was generally frowned upon. Most "fixes" were done by sending them back to the painter. In the later years (post 2000) the digital tools became more common, and even became a regular part of the production pipeline. Once this happened, it was too tempting for some Art Directors not to leave them alone, and they started tinkering with them more. This effort was not some magic button. They still had to paint each detail using computer tools instead of the brush.Since the old days film had to be "color timed" (see technicolor). That process of film developing could effect the color (hue), brightness, and contrast of the finished art. Most of that effort was focused on getting a film color that was faithful to the original art rather than changing anything. Film tends to make the darks get darker and the lights get lighter, so the painter has to keep his values very close and not get too contrasty.
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