Re: Qualité de l'animation

J'ai entendu dire (rumeur) que le film n'a pas été fait avec les mêmes moyens (financiers donc techniques) que ceux que tu cites...

Perso, ça ne m'a pas choqué, pas plus que je ne serais choqué par un film en N&B.

Peut-être plus d'infos (si qq'un a le temps d'y rechercher le budget consacré au film), sur:

http://www.chaperonrouge-lefilm.com/

http://www.hoodwinkedthemovie.com/

Sur la technique, il y a qq infos sur le "about" du site américain:

MEANWHILE, BACK IN MANILA:
About the Digital Animation of Hoodwinked

HOODWINKED not only breaks the conventional mold of fairy-tales. It also breaks the mold of animation production, becoming an example of the new boom in a more iconoclastic, independent digital animation. It’s a frontier that has finally opened up thanks to the increasing accessibility to cutting-edge technology. Having created a highly stylistic fairy tale world – and with Edwards and Leech having painstakingly drawn detailed storyboards and eye-popping set designs for locales ranging from quaint cottages to dangerous mountain peaks -- the filmmakers of HOODWINKED knew they would need some serious computer power to bring it all to life. Luckily, in today’s world, that was for the first time a real possibility. HOODWINKED producer David Lovegren, who worked for years producing large-scale animation projects for Disney, explains: “Six or seven years ago, the idea of doing HOODWINKED as an independent animation feature would have been impossible. High-quality computer animation was just too expensive and only major companies like Disney could afford budgets that reached a million dollars a minute.” Continues Sue Montgomery: “Now the playing field has finally been leveled because the same software and technology that once revolutionized animated films is available to many more filmmakers.”

To turn bits and bytes into the wolves and bears of Red’s “hood,” the filmmakers jetted off to a 5,000 square foot studio in the capitol of the Philippines, Manila, where a team of top-notch animators was assembled. Lovegren and Montgomery chose Manila not only because it has a vast and experienced pool of animation talent but because most of the people there have grown up on American pop culture – and had a real appreciation for the sly humor and visual style that make HOODWINKED so distinctive.

In Manila, Lovegren and Montgomery worked together to establish cutting-edge procedures that significantly shrank the normal multi-year animation film schedule and turbo-charged the entire process. The break-neck pace was a constant challenge to the Manila artists, who fine-tuned and layered the characters and sets of HOODWINKED in the 3D world of Maya Software. To further speed up the production, an Indian animation team was later brought on board to finish the detailed digital lighting of more than 1300 digital shots. By the climax of production, work was taking place on three different continents connected only by the thread of broadband. For a fairy tale that’s been around for centuries it was a whole brave new world.

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