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Antônio Fialho DESVENDANDO A Antônio Fialho DESVENDANDO A METODOLOGIA DA ANIMAÇÃO CLÁSSICA: A arte do desenho animado como empreendimento industrial Escola de Belas Artes Universidade Federal de Minas Gerais Belo Horizonte, julho de 2005. Antônio César Fialho de Sousa DESVENDANDO A METODOLOGIA DA ANIMAÇÃO CLÁSSICA: A arte do desenho animado como empreendimento industrial Dissertação apresentada ao Curso de Mestrado em Artes Visuais da Escola de Belas Artes da Universidade Federal de Minas Gerais, como requisito parcial à obtenção do título de Mestre em Artes Visuais. Orientadora: Profª. Drª. Ana Lúcia Andrade EBA / UFMG Escola de Belas Artes Universidade Federal de Minas Gerais Belo Horizonte, julho de 2005. FICHA CATALOGRÁFICA FIALHO, Antônio, 1971. Desvendando a metodologia da animação clássica : A arte do desenho animado como empreendimento industrial / Antônio César Fialho de Sousa – Belo Horizonte: Escola de Belas Artes / UFMG (Dissertação de Mestrado), 2005. 195 p. Orientadora: Ana Lúcia Andrade Dissertação apresentada ao Curso de Mestrado em Artes Visuais da Escola de Belas Artes da Universidade Federal de Minas Gerais, como requisito parcial à obtenção do título de Mestre em Artes Visuais. 1. Animação 2. Desenho animado 3. Metodologia industrial Dissertação intitulada “ DESVENDANDO A METODOLOGIA DA ANIMAÇÃO CLÁSSICA: A arte do desenho animado como empreendimento industrial ”, de Antônio César Fialho de Sousa, defendida, no dia 12 de julho de 2005, na Escola de Belas Artes da Universidade Federal de Minas Gerais, Belo Horizonte (MG), diante banca examinadora constituída pelos seguintes professores: _______________________________________________ Profª. Drª. Ana Lúcia Andrade (EBA / UFMG) - Orientadora _______________________________________________ Prof. Dr. Marcello Giovanni Tassara (ECA / USP) _______________________________________________ Prof. Dr. Francisco Carvalho Marinho (EBA / UFMG) AGRADECIMENTOS Aos meus pais, Teresa e Antônio, pelo apoio incondicional. Às minhas queridas irmãs Tetê e Guigui. À minha orientadora Ana, pela amizade, dedicação e competência de sempre. Aos professores e colegas Chico e Heitor, pelo incentivo. Ao meu ex-orientador Andy Bartlett (Vancouver Film School), pela solidez teórica nos ensinamentos de animação. À minha ex-professora J. C. Little (Vancouver Film School), também ex-supervisora (Joseph, King of Dreams ), pelos fundamentos em animação assistente. Aos animadores e amigos Aggêo e Elton, pelo estímulo e experimentação profissional. Aos amigos Augusto, Carlos, Cristiano, Curt, Elio, Fabiano, Flávia, Júlio, Liliane, Meire, Paulo, Sandro, Sean, Valfredo e Wellington, também colegas de tantos trabalhos. A todos aqueles que acreditaram em meu trabalho de animador e animador assistente: Aggêo Simões (Zootrópio), Chico Marinho (Ex-Nihil), Paulo Vilela (Tanto Design), Cristiano Seixas (Big Jack / Casa dos Quadrinhos), J. C. Little, Cathy Schoch e Curt Spurging (Bardel Entertainment / DreamWorks SKG), Marcelo e Jean de Moura (Lightstar Studios / M6 / A. Film). Aos amantes desta arte laboriosa, mas apaixonante. RESUMO Este estudo pretende descrever o processo metodológico existente na realização de um filme de desenho animado para cinema. Independente do formato e mídia de reprodução, há uma seqüência de procedimentos comuns que precisam estar bem claros para o realizador para que ele possa, em vista dos limites orçamentários de que dispõe, supervisionar a qualidade técnica de seu projeto com eficiência. Com isso, ele pode se concentrar no processo criativo da etapa de animação. Esta etapa e sua metodologia de produção são os enfoques principais deste estudo, juntamente com a tentativa de elaborar uma visão sistêmica da industrialização do estúdio de desenho animado como uma empresa de entretenimento e de sua natureza enquanto organização. É necessário que o futuro animador tenha uma visão geral sobre o tipo de estrutura departamental presente em um estúdio de animação e os cargos artísticos existentes, pois o conhecimento e a reflexão sobre a divisão de trabalho em equipe dentro da produção de um desenho animado tornam-se fundamentais para o animador brasileiro que pretende montar uma equipe para seu projeto. Assim, ele pode melhor estruturar ou segmentar as responsabilidades de cada função a fim de cumprir os prazos estabelecidos na etapa de produção, sem perda de qualidade, compreendendo a dicotomia que abrange o desenho animado como produto artístico industrial. ♦♦♦ ♦♦♦ ♦♦♦ ABSTRACT The present study aims to shed light upon the methodological process involved in the making of animated features. Regardless of its reproduction format and media, the animation process comprises a sequence of fixed procedures which must be reflected upon by animators and directors alike so that they may, given budgetary limitations, oversee the projects' technical quality in an efficient manner, without compromising the creative process of the actual animation. This phase and its inherent methodology are central to this study, along with an attempt to elaborate a systemic view of the evolution of the animation studio as an entertainment industry business venture and its nature as an organized enterprise. It is as important that future chief animators in Brazil have an overview of the organizational structure in animation studios and their underlying artistic and functional hierarchy, as it is crucial that they identify and reflect upon the division of labor when forming an animation team to work in the production of an animated feature or any such project. This knowledge will help them to better assemble teams and lay down member’s functional responsibilities in order to meet production deadlines and guarantee technical and artistic quality, while fully understanding the dichotomy of the animated feature as a product of the Art Industry. ♦♦♦ ♦♦♦ ♦♦♦ SUMÁRIO INTRODUÇÃO ................................................................................................. 01 1 - UM BREVE HISTÓRICO SOBRE A ARTE DO DESENHO ANIMADO ..... 10 1.1 - O início da animação industrial ....................................................... 11 1.1.1 - A descoberta do acetato ...................................................... 11 1.1.2 - Surge o animador assistente ............................................... 14 1.2 - Um novo estúdio amadurece o processo de produção ................... 15 2 - A EVOLUÇÃO DA LINHA DE "MONTAGEM" NA ANIMAÇÃO .................. 19 2.1 - Introdução a alguns princípios teóricos da Administração .............. 20 2.1.1 - Histórico da teoria administrativa ......................................... 20 2.1.2 - As primeiras teorias administrativas .................................... 22 2.1.3 - A Importância das relações humanas na organização .........25 2.1.4 - Humanismo e eficiência ....................................................... 27 2.1.5 - Visão sistêmica das organizações ....................................... 27 2.1.6 - Teoria contingencial ............................................................. 29 2.2 - Histórico da departamentalização, cargos e técnicas utilizadas na indústria de desenho animado ......................................................... 31 2.2.1 - O desenvolvimento de um departamento para a história ..... 38 2.2.2 - Planejar passa a ser fundamental ........................................ 39 2.2.3 - Cenários mais complexos .................................................... 40 2.2.4 - A evolução da animação de efeitos especiais ...................... 40 2.2.5 - O departamento de efeitos visuais ....................................... 42 2.2.6 - Departamentos provisórios ................................................... 42 2.2.7 - A animação assistente ......................................................... 43 2.2.8 - A nova estrutura do departamento de animação ................. 45 2.2.9 - Evolução das técnicas de pintura ......................................... 47 2.2.10 - A técnica de xerox agiliza o processo de pintura ............... 48 2.2.11 - A utilização do vídeo-cassete ............................................. 49 2.2.12 - O departamento de filmagem ............................................. 50 2.2.13 - A importância do som na animação ................................... 52 2.2.14 - O departamento de efeitos sonoros ................................... 53 2.2.15 - Um departamento para conferir todos os desenhos .......... 54 2.2.16 - A era da informática ........................................................... 55 2.2.17 - Novas tecnologias reestruturam a organização interna ..... 56 2.2.18 - A possibilidade de uma nova “era de ouro” para a animação ............................................................................................ 59 3 - PROCEDIMENTOS DE UM GRANDE ESTÚDIO DE ANIMAÇÃO ............ 62 3.1 - O processo de desenvolvimento ..................................................... 65 3.2 - A pré-produção do desenho animado ............................................. 73 3.2.1 - Direção de arte e estilo visual .............................................. 75 3.2.2 - Storyboard ............................................................................ 77 3.2.3 - Som guia .............................................................................. 80 3.2.4 - Animatic ................................................................................ 84 3.2.5 - Diálogos definitivos ............................................................... 87 3.3 - A produção do desenho animado .................................................... 90 3.3.1
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