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L'animation Stylisée

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L'animation Stylisée Universite Paris 8 Master Creation Numerique parcours : Arts et Technologies de l'Image Virtuelle L’animation stylisée Clea Gonay Memoire de Master 2 2019 - 2020 1 résumé Le cinema d’animation est un medium propice a* l’abstraction du reel, a* la simplification des formes et du mouvement. Gra0ce a* un language visuel et une esthetique qui lui sont propre, l’animation stylisee reussit a* conserver le sens tout en amplifiant les emotions du spectateur. Pourquoi et comment realise t-on un film en animation stylisee ? En se basant sur la litterature disponible, mes experiences et une serie d’interviews realisees aupre*s d’acteurs de l’industrie, ce memoire propose une approche philosophique, anthropologique et technique des principes et codes de l’animation stylisee. Il cherche a* mettre en lumie*re les raisons qui poussent un realisateur a* choisir ce medium et explore les possibilites offertes par les outils disponibles a* travers des exemple d’oeuvres 2D, 3D et hybrides. Enfin, pour illustrer mon propos, j’y presente mes mises en pratiques realisees lors de mon etude du sujet. abstract Animation is a perfect medium to abstract reality and to simplify forms and movements. Thanks to its own visual language and aesthetical values, stylised animation conveys meaning as well as amplifies the spectator’s emotions. Why and how are stylized animated movies made ? Using available literature, my own experiences and a series of interviews made with people involved with the industry, this thesis takes a philosophical, anthropological and technical approach to the principles and codes of stylized animation. It highlights the reasons why a director would choose this route and explores the possibilities of the available tools while presenting related 2D, 3D and hybrid works. Finally, to illustrate my point, I present the experiments I made during my research. 2 Remerciements Je tiens a* remercier Anaï>s pour avoir ete la meilleure directrice de memoire officieuse dont on puisse re0ver. A? mon Antoni pour son soutien. A? Josselin pour les seances de travail a* distance avant, pendant et apre*s le confinement et pour ses corrections. A? Alaya qui pourrait e0tre professeure de philosophie quand elle veut. Marine, Alexis et Jade pour leur relecture et leur commentaires. Et particulie*rement a* la team, Lucie, Lise et Baptiste. A? Max Maleo, Georges Sifianos, Julien Molland, Florian Aupetit et a* Jean-Claude Charles pour le precieux temps qu’ils m’ont accorde. A? Christophe Seux et Fiona Cohen pour s’e0tre pre0tes au jeu. Merci egalement a* mes professeurs Lolet Ong et Jean-François Jego et a* toute l’equipe pedagogique d’ATI pour leur soutien pendant mes etudes. Enfin merci a* ma famille, mes parents, ma soeur et mes amis qui n’etaient jamais loin, me0me en pleine fin du monde. 3 Sommaire L’animation stylisee........................................................................................................................................................ 1 resume.................................................................................................................................................................................. 2 abstract................................................................................................................................................................................ 2 Remerciements................................................................................................................................................................. 3 Sommaire............................................................................................................................................................................ 4 INTRODUCTION................................................................................................................................................................ 6 Partie 1 - Stylisation et style : les avantages de la simplification..................................................................9 A) Le rapport entre stylisation, style et esthetique......................................................................................9 a) Le style comme outil de categorisation esthetique...........................................................................9 b) Le mouvement comme principe fondateur de l’esthetique du cinema d’animation........12 c) Le cas de l’animation 3D............................................................................................................................ 15 d) L’exploration du cinema d’animation hybride.................................................................................18 B) Outil et langage visuel...................................................................................................................................... 24 a) Le langage de l’animation : la stylisation du reel............................................................................24 b) L’abstraction en animation...................................................................................................................... 27 c) La stylisation est un vecteur emotionnel............................................................................................30 C) la 2D et la 3D........................................................................................................................................................ 34 a) L’utilisation de la stylisation en animation........................................................................................34 b) Le debat de la 2D contre la 3D................................................................................................................ 37 c) le developpement de l'animation hybride.........................................................................................39 d) Etat de l’art en animation stylisee 3D.................................................................................................44 Partie 2- L’adaptation stylisee.................................................................................................................................. 49 A) L'artisanat et l’industrialisation en animation stylisee......................................................................49 a) Adapter les outils au style........................................................................................................................ 50 b) Le melange des techniques comme support ou comme moyen...............................................58 c) L’innovation stylistique............................................................................................................................. 62 B) Professionnel et economique....................................................................................................................... 65 a) le syste*me de production animee français........................................................................................65 b) La production de J’ai Perdu Mon Corps..............................................................................................66 c) le developpement de Unicorn Wars a* ADM (partie qui ne peut e0tre diffusee )..................71 C) Perspectives d’avenir....................................................................................................................................... 72 a) Prendre des risques, etude de cas KLAUS..........................................................................................72 b) Plateformes de diffusion specialisees.................................................................................................77 Partie 3 - L’animation stylisee en pratique.........................................................................................................78 A) Le stylise dans la modelisation d’un univers ou d’un personnage................................................80 a) sculpture d’un personnage stylise........................................................................................................80 b) le graphisme minimaliste : l’ethere dans UZO.................................................................................81 c) le low poly de Micromega......................................................................................................................... 84 B) Interpreter des concepts pour creer de l’animation stylisee...........................................................86 a) le mouvement stylise dans Tangle........................................................................................................86 b) les effets speciaux 2D................................................................................................................................. 89 C) Adapter le rendu au style............................................................................................................................... 91 a) La rotoscopie de la 3D pour J’ai Perdu Mon Corps.........................................................................91 b) Recherche et developpement pour Unicorn Wars (partie qui ne peut e0tre diffusee ).....93 CONCLUSION................................................................................................................................................................... 94 Bibliographie................................................................................................................................................................... 96 4 Ouvrages consultes................................................................................................................................................
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