Download The Art of How to Train Your Dragon PDF

TitleThe Art of How to Train Your Dragon
CategoryArts - Film
Author
Languagerussian
File Size37.3 MB
Total Pages157
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Document Text Contents
Page 1

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Page 78

(top right) TlJffnut Sketch- Nico Martel-pencil & marker.

(top left} Tuflnut Sketch - Simon Olto - pencil.

(above) Tuflnutand Ruflnut Flying-Nico Marlet- perd & marker.

Page 79

Tuffnut and Ruffnut are "adrena-line junkies who are extremely
competitive and always policing each
other for signs of weakness," says
Director Dean DeBlois. Their long
and wiry designs perfectly comple-
ment their springloaded personali-
ties, always poised to jump into the
next fracas.

Although at first glance it may
be difficult to tell the twins apart,
Tuffnut is the boy and Ruffnut is the
girl. "That was actually part of the
fun in designing them, because it
made for both an efficient modeling
effort and a joke among the crew to
try to keep them straight," recalls
Producer Bonnie Arnold.

7'J

Page 156

I~

The editorial crew has the unique advantage of seeing the film at all
stages of production because nearly
every department in the pipeline
delivers its shots to the edit bay as it
completes its work.

Perspective is perhaps the
most important through-line for the
editorial team to consider. When
editorial cut together the sequence
where Hiccup and Toothless are get-
ting acquainted in the cove, the team
was very mindful of each character's
point of view, what emotion each

would be feeling, and why he would
be feeling such a way in each shot.
Those character-based considerations
inform the decisions of whether to
go with two-shots, profiles, or close-
ups in each moment. "It was all
about discovering the idea of what
it's like to go from a very tentative
relationship to one that is truly joyful
and fun," recalls Editor Darren
Holmes.

The editorial team also had the
unique opportunity to work in more
of a live-action style. When Hiccup

and Toothless battle the Red Death,
the production took the approach that
they were shooting this sequence in
live-action by creating a long "master
shot" which editorial then cut like
a live-action team would. "We got
the sense of what the storyboards
were looking for, then we built basic
animation and layered temporary
effects, lighting, and clouds into
one big Maya file," explains Head
of Layout Gil Zimmerman. Next the
"previs" put a variety of interesting
camera moves into the shot to try

(above and t!QIII) Sequence 2475, Ba!UejJlJhJI Cl9.uds - SllHV sketch -;.1\tessandto CarlooL ~loilal oaint.

to capture it cinematically. "Then
it came clown to editorial to let us
find an organic cut, which gave the
directors opportunity to find the
movie instead of trying to call it
out shot-by-shot much earlier in the
process, as is the norm," continues
Holmes. After the directors approved
of the cut in editorial, the sequence
went back into the production
pipeline at the layout department
and then moved forward through the
subsequent departments like all other
shots in the film.

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