如何在两周时间内创作获奖的二维动画 How to Create Award-Winning 2D In 2 Weeks

发布日期:2019-10-31
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来源:微信公众号 FinalFrontierLab


Le Cube’s 2017 World Car Free Day animated spot for McDonald’s is not only a slick combination of illustration styles, but an example of what can be achieved in a remarkably short timeframe if you work with savvy producers.

Le Cube为麦当劳制作的“2017世界无车日”动画短片,不仅仅是对不同画风的巧妙融合,而且是一个很好的例子——当与你合作的是一位聪颖的导演时,哪怕工期短暂也能有所成就。

With just two weeks to produce 40-seconds of 2D cell animation, Le Cube delivered on time and beyond expectation, scooping a coveted Motionographer Motion Award and various other accolades for their efforts.

在两周的时间内制作40秒的2D单元动画,Le Cube不但按时完工,而且作品超出预期,在Motionographer MotionAward上有所斩获,而且他们的努力也赢得了来自各个方面的其他赞誉。


The story behind the piece also happens to be Le Cube co-founder Gus Karam’s favourite to tell in screenings. Here, the now Final Frontier EP tells it directly from the unicorn’s mouth.

而这部作品背后的故事,也正好是Le Cube的联合创始人Gus Karam在荧幕上最喜欢讲的故事,现在,就让他本尊来通过Final Frontier终极先锋的特别单元来给你讲述吧!


GUS: 
It was a Thursday night, and I was drinking wine, cooking a pumpkin soup. I received a call from Puigi [Andres Puig], a senior art director at DDB Brazil and long-standing friend of Le Cube. 

Gus:
那是个周四晚上,我正喝着小酒,熬着南瓜汤,然后就接到了Puigi(Andres Puig)的电话,他是DDB巴西的资深艺术总监,也是Le Cube的好朋友。


He said, “Dude, I have this project for McDonald’s, but it’s complicated. It’s for World Car Free Day in just over two weeks. It wasn’t supposed to happen and nobody here knows about it besides the account manager, but the client is expecting an animation. Can you help?”

I said, “Sorry dude, it’s impossible. We only do amazing work and I cannot do something amazing in that time, so, sorry.”

他说:‘哥们儿,我有个麦当劳的项目,但是说来话长了。这是为世界无车日做的项目,但是只有两周时间。我们这边除了客户经理之外,没人知道还有这么回事儿,而且客户希望是部动画作品。你能帮个忙不?’”

我说:‘抱歉了哥们儿,真没辙。我们一向是精益求精,但是这么短的时间怎么出精品呢?所以,不好意思哈。’


But, you know, that week I had watched the Rick and Morty “Exquisite Corpse” [a trailer for the third season of Rick & Morty on Adult Swim, in which 22 different artists animate 22 consecutive scenes, each in their own unique style]. I loved it, and I was pissed because we weren’t involved, haha. They created an animatic, then divided it among different artists - none of them knew what style the others were doing - then put all the parts together. I thought the approach could work for McDonald’s.

但是,你猜怎么着,那一周我刚看了《瑞克和莫蒂》那集‘精致的尸体(AdultSwim的《瑞克和莫蒂》第三季的一部预告片,本片中22位不同的艺术家制作了连贯的22个动画场景,每一个都具有独特的风格)’,我很喜欢,而且我很气愤,我们咋没捞着做呢?哈哈。他们首先创作出一段样片,然后分割出来给不同的艺术家去创作-他们之中没人知道其他人创作出什么风格-最后将所有部分融合在一起。我觉得这个方法也能用在麦当劳这个项目上。


I called Ralph [Le Cube creative director and Gus’ brother] in Buenos Aires and we had a fight for an hour-and-a-half because he didn’t think there was enough time to do something great. The producers in the office were pretty scared listening to our yelling apparently, but we’re brothers, so it’s ok. After an hour we decided not to do it and hung up. Then 15-minutes later Ralph called back and said, "Let’s do it, it’s possible".

我打给了Ralph(Le Cube的创意总监,也是Gus的兄弟),他在布宜诺斯艾利斯,然后我们俩吵了一个半小时的架,因为他不觉得我们能有足够时间来做出好东西。办公室里的制片人们听到我们的吵架都显得很害怕,但我们是兄弟啊,所以一切都OK。一小时后我们决定,不接这活儿,挂了电话,然后15分钟后Ralph又打过来说,‘接吧,我觉得能成。’


I went to the client and explained that the only way was to tell a simple story, with a fixed camera, with several transport methods in different styles passing by the Drive Thru window. The budget was not huge so we asked for as much creative freedom as possible.

我们去见了客户,跟他们解释,现在只有一个办法,就是用固定的镜头讲一个简单的故事,各种不同的交通工具从即停即走窗口经过,因为预算不高所以我们要求了尽可能多的自由度。


We decided to work with both in-house and external artists - either animators, or illustrators that we would team up with an animator. We made a shortlist of 16 and McDonald’s selected 12. The unicorn had to be Le Cube, directed by Ralph. 

我们决定既和公司内部的艺术家合作,也跟外面的艺术家合作——他们有的是动画师,有的是和动画师组队的插画师。我们列了一个16人的名单,而麦当劳选了其中12人。其中重头戏肯定是属于Le Cube的,Ralph做导演。其他的人大多数是朋友,也有一些早就以兼职身份跟我们合作过。


Most of the others are friends, some who had already worked with us as freelancers. We often use Latin artists because we like to showcase that unique style and storytelling sensibility. We also used it as a chance to test some promising young talents we’d been watching.

McDonald’s created a guideline for the story, then Le Cube created an animatic:

我们经常会雇佣拉美艺术家,因为我们喜欢展示这些独特的艺术风格,以及感性叙事。以及我们也将这个项目视为一个机会,来考察一些我们观察已久的有潜力的新锐艺术家们。”

麦当劳那边创作了一个故事大纲,然后Le Cube创作了一部样片。

Animatic

The first time I saw it, I asked to put “Blister in the Sun” [by Violent Femmes] as the soundtrack. It just felt like the right song. Later we actually delivered another track but the client asked to come back to the animatic reference, so in the end the music was very similar.

当我第一次观看样片的时候,我就要求将《Blister in the Sun》(Violent Femmes的单曲)作为背景音乐。我觉得这就是最合适的歌了。后来其实我们使用的是另一首歌,但客户要求还是换回样片的音轨,所以到了最后音乐是很相似的。


We allocated each scene in the animatic to different artists then put them to work. After one week, each had their individual piece done. We delivered on time, it turned out to be the best part of the whole campaign and Alarcon (DDB CD) and his team was super happy. I think of it every time I make pumpkin soup. ”

我们把每个场景分配给不同的艺术家,然后让他们开工。一周后,他们每个人的独立片段都做好了。我们按时交工,结果整套广告宣传里面这部片反响最好,而且Alarcon(DDB创意总监)和他的团队都乐开花了。现在每次我熬南瓜汤的时候都会想起这件事。


Credits

Client: McDonald’s Brazil
Agency: DM9DDB
Creative VP: Aricio Fortes
Digital Creative VP: Eduardo Battiston ECD: Paulo Coelho
CD: Adriano Alarcon
AD: Andres Puig, Maicon Pinheiro, André Mancini
Copy: Ignacio Carelli, Alexandre Freire, Alessandra Muccillo
Animation: Le Cube
Director: Ralph Karam
Executive production: Gustavo Karam and Juan Manuel Freire
Producer: Larissa Miranda
Artists: Andrea Devia Nuño, Bocha Barrena, César Pelizer, Eugenia Casal, Fabrício Lima, Fernando Finamore, Fran Luque, Gastón Pacheco, João Lavieri, Lucas Fiacadori, Matchola (Matheus Muniz), Milton Gonzales, Paulo Stoker, Santiago Oddis, Sergio Kechu.
Design: Leandro Chaman
3D: Chris Rey Willis
Motion Graphics and Composition: Jardeson Rocha
Music: Cachorro Loco



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