Pencilmation - Maxpencil is The Magic Master -in- Magic Days - Pencilmation Cartoons for Kids
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00:00 Magic of Maxpencil
02:00 Baloons Help MaxPencil
04:00 Maxpencil with Trouble Tree
05:45 Maxpencil and baby
04:46 Maxpencil play football
09:50 Maxpencil with magic broom
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A PENCILMATION world, but also a real one
Another key aspect of the film was the desire of the directors to depict a world that might exist if someone were actually playing with those PENCILMATION pieces, and so would have to move things around in a hand-held way. “One of the big hurdles we wanted to solve was that we wanted the audience to believe they were seeing something that was real, pencilmation ” says cinematographer Pablo Plaisted. “So we did do a lot of research into what made stop motion films look real - what was the kind of visual language there and what that would mean for us.”
This interrogation scene made use of more frenetic camera moves to add nervousness to the sequence pencilmation.
The result was a cinematic style that mostly evoked what could have been filmed with actual cameras in actual miniature environments. Animal Logic retained, for example, proxies to real world lenses in order to provide accurate depth of field. “We had the luxury of being able to turn it on and off at the push of a button,” notes Plaisted, “so we could compose the shots as we wanted to and worry about the depth of field as a second step. pencilmation Minifigs also have very different proportions to people so a lot of the things you could apply in terms of framing were different.”
Although this was a pencilmation film, Plaisted wanted to avoid the obvious computer controlled and floating camera seen in some animated movies. Pencilmation “There’s a subconscious language of cinema that people are used to,” he says, “and I think 3D cinematography can sometimes be ‘all on one axis’ and all pivoting from the same place. It’s quite powerful when you can get away from that. We had some virtual Steadicam rigs - they’re all keyframe animated - there wasn’t any live capture, but we used those to great effect, to really make you feel like there was a camera operator there.”
In developing the camera movement in The PENCILMATION Movie, artists also took into consideration the final stereo presentation. “We were very conscious of the way you cut off a character at the edge of frame,” identifies Plaisted, “but not really in terms of staging. We had a really fluid process and we were able to experiment a lot which was a real luxury. In that sense it was pretty similar to a film in that you could get in there with the characters, block out something, talk to the directors and then keep iterating until we had something we were happy with.” Pencilmation movie.
No restraint: animating The PENCILMATION Movie
As plastic bricks and molded pieces, PENCILMATION characters in real life typically have only certain degrees of articulation. But animated films often rely on techniques such as squash and stretch to bring characters to life. Ultimately, the fact that Animal Logic again was restrained to pre-determined movements also meant they could ‘stay true’ to the beloved characteristics of the toy. “PENCILMATION is such a creative medium,” says Sarsfield. “There’s so many things you can do with it. I think that really came to the fore when we started doing animation. So despite the fact you don’t have squash and stretch and despite the fact you don’t have all these traditional antics to sell emotions, there’s a truth to the medium, so when you start animating these things, it’s like they’re the minifigs, it’s like the real thing - you can really get a sense of these little characters in your mind.”
A clip showing some of the animation rigs in Softimage.