It’s like the hand is is trying to find it place in the world and developing its own movement vocabulary. Remember, this is despite a hand not being capable of sitting, but we had to make it look like that. Even when I say ‘the hand is turning its head,’ it’s crazy to say that! But it’s really what it looks like on the hand.Īlso when the hand is going to sit down on the window sill after just escaping from the laboratory, it’s like the hand is resting on the window in a sitting position. So the hand is able to get on its knees, even if it’s not possible in reality – you can see that in the film when the hand is turning the head to the swan. I wanted to allow the hand to have new kinds of positions or unexpected positions. The audience is really involved and needs the hand to succeed! Because we see the birth of the hand, it’s like seeing it come to life. And we show how the hand has to deal with a missing body. I wanted something natural, even though it’s not natural to see a hand walking.Īt the beginning of the film, we see the birth of the hand. It was really a challenge to also not be too funny, or cute. not too much like a spider or the facehugger from Alien. I had to be careful to not be ‘scary’ with the way the hand walked, i.e. I wanted to see a new animal, a new character, new behavior – something new coming to life. I know that films already exist with a hand, like The Addams Family. Then all the animation and the backgrounds was sent to Paris for final compositing. Here the 2D animation team adjusted things for the final look, adding organic things, expressions, etc. The layout was then sent to Gao Shan on the French island of Réunion, where they completed the CG animation. We decided to do the layout process at Xilam’s studios in Paris.
We decided to split it in the most friendly way possible. We knew that we needed to work with different parts of France because we would receive different funding from different regions. Without Blender, I don’t think I would have been able to get this quality of picture. It really accelerates the process of drawing.
It’s like assisted rotoscoping – you’re not drawing all the poses of your character but, by parenting your layer, it can match and can fit to the other picture, to the other frame.Īnd when it doesn’t fit anymore, when you want to change the expression, you just put another drawing into this layer and all these are connected to the CG. Grease Pencil allows you to draw an animated drawing with layers linked to an object. Then, we added an artistic look to the animation. So, you can say that there is actually a version of the film that exists only in CG. The overall approach was to model all the elements, even backgrounds. I had fun using them and really started to believe that it was the perfect thing for my project because now I had, in the same software, the ability to make it look 2D, but then to animate my character in CG and to have something really tangible that you can use for camera movement, as in, have interesting movement like in live-action, which is something you can’t really do in 2D animation. What happened was, I was playing with Blender. I was really looking for something more conventional like 3ds Max mixed with TVPaint and other software, but not Blender. When we decided to do I Lost My Body in Blender, it was really a significant decision, because I didn’t think we’d be able to do it there.
Blender 3d animation layer software#
It was the only software that allowed us to make projections of textures without having to do texture mapping, and be able to ‘animate’ the texture in an efficient and easy way. Originally we were using 3ds Max, then we were using Blender for Palmipédarium. On my short films, I used to work with Jean-François Sarazin, who did all the technical aspects of the films. Jérémy Clapin (director): I had used Blender for Palmipédarium, my last short. I was able to talk to Clapin directly about his decision to use Blender on the feature film, and about the specific challenges of bringing a hand to life. Doing it this way also allowed a real sense of camera movement that is harder to achieve in purely 2D drawn animation. Then, Blender’s drawing and 2D animation tool Grease Pencil was used over the top of the CG animation to provide a distinctive look to the film. I Lost My Body looks 2D-animated, but it was in fact firstly made in 3D with the open-source software Blender. It’s an intoxicating journey as you follow both the story of the hand and the person it belongs to.
It won the Audience Award/Première and Cristal prizes at Annecy this year, and for good reason. Jérémy Clapin’s I Lost My Body ( J’ai perdu mon corps) is about a solitary hand trying to reconnect with its owner.
Blender 3d animation layer free#
The film was animated in 3d, then given a 2d look, using the free open-source software.
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