Fascinating article - I remember referencing a film titled “Snipe, Clam, Grapple” for a commercial in the 80’s which was in an ink wash style but most likely cut-out and not straight ahead drawn animation.
The multi-exposure thing is interesting because it’s harder to do where you have a predominately white background in the final image, so perhaps they shot on negative film and used an optical printer to combine the various passes instead of in-camera..
Aaa, thank you so much for bringing this vital research into English! I was blown away when I saw Te Wei's films a couple of years ago, and until today I knew nothing about the other people who worked on them, and only the vaguest idea of how it was done from your previous articles. Multiple-exposure, out of focus camera tricks is so ingenious! But the amount of trial and error it must have taken to pin down the exact parameters of light, exposure time etc., when you don't get to see the result until the film is developed... it's incredible, and must have taken such meticulous coordination to get the results to look consistent and clean in animation. Thank you for once again carrying the torch for writing about donghua in English!
Perhaps there is signs of things getting better. I got a chance to see Busifan's 'The Storm' here in London, and while it was a limited run, the theatre was pretty full. I feel like word is maybe starting to filter out a little! I hope one day there's just as much passion abroad for translating, releasing and discussing donghua as there is anime.
Fascinating article - I remember referencing a film titled “Snipe, Clam, Grapple” for a commercial in the 80’s which was in an ink wash style but most likely cut-out and not straight ahead drawn animation.
The multi-exposure thing is interesting because it’s harder to do where you have a predominately white background in the final image, so perhaps they shot on negative film and used an optical printer to combine the various passes instead of in-camera..
Fantastic.
Another great post and, living in the UK am happy that Creature Comfort (style) is back. Absolute classic
I never saw this film or heard of this filmmaker before. Her style is remarkable.
Aaa, thank you so much for bringing this vital research into English! I was blown away when I saw Te Wei's films a couple of years ago, and until today I knew nothing about the other people who worked on them, and only the vaguest idea of how it was done from your previous articles. Multiple-exposure, out of focus camera tricks is so ingenious! But the amount of trial and error it must have taken to pin down the exact parameters of light, exposure time etc., when you don't get to see the result until the film is developed... it's incredible, and must have taken such meticulous coordination to get the results to look consistent and clean in animation. Thank you for once again carrying the torch for writing about donghua in English!
Perhaps there is signs of things getting better. I got a chance to see Busifan's 'The Storm' here in London, and while it was a limited run, the theatre was pretty full. I feel like word is maybe starting to filter out a little! I hope one day there's just as much passion abroad for translating, releasing and discussing donghua as there is anime.