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NOTES TECHNIQUES Par Norman Mclaren (1933-1984)

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NOTES TECHNIQUES Par Norman Mclaren (1933-1984) NOTES TECHNIQUES par Norman McLaren (1933-1984) Tout au long de sa carrière, McLaren a reçu de nombreuses questions concernant ses films et ses techniques. Pour répondre facilement et précisément à ces demandes, il a élaboré des notes techniques sur plusieurs de ses oeuvres. Toutes ces notes techniques, rédigées et révisées par Norman McLaren entre 1933 et 1984, ont été traduites en français et rassemblées en un seul recueil. Certains de ces textes ont été publiés en versions très légèrement modifiées dans Norman McLaren : Le génie créateur, Don McWilliams (dir.). Montréal : Office national de film du Canada, c1993, 106 p. © 2006 Office national du film du Canada Table des matières Notes techniques sur Alouette (1944) ........................................................................................................................ 3 Notes techniques sur Ballet Adagio (1972)................................................................................................................ 4 Notes techniques sur Blinkity Blank (1955) ............................................................................................................... 5 Notes techniques sur Canon (1964)............................................................................................................................ 7 Notes techniques sur Caprice en couleurs (1949)..................................................................................................... 9 Notes techniques sur C’est l’Aviron (1944).............................................................................................................. 11 Notes techniques sur Discours de bienvenue (1960).............................................................................................. 15 Notes techniques sur L'écran d'épingles (1973) par Guy Glover................................................................................ 16 Notes techniques sur Fiddle-de-dee (1947).............................................................................................................. 17 Notes techniques sur Il était une chaise (1957) ....................................................................................................... 18 Notes techniques sur Keep Your Mouth Shut (1944) .............................................................................................. 21 Notes techniques sur Là-haut sur ces montagnes (1945) ...................................................................................... 22 Notes techniques sur Lignes horizontales (1961-1962) .......................................................................................... 23 Notes techniques sur Lignes verticales (1960)........................................................................................................ 25 Notes techniques sur A Little Phantasy (1946)........................................................................................................ 27 Notes techniques sur Le Merle (1958) ...................................................................................................................... 28 Notes techniques sur Mosaïque (1965) .................................................................................................................... 29 Notes techniques sur Narcisse (1983)...................................................................................................................... 31 Notes techniques sur New York Lightboard (1961)................................................................................................. 40 Notes sur la technique de l’image multiple dans Pas de deux (1967) ................................................................... 41 Notes techniques sur A Phantasy (1948) ................................................................................................................. 44 Notes techniques sur La poulette grise (1947) ........................................................................................................ 46 Notes techniques sur la bande son de Points et Boucles (1940)........................................................................... 48 Notes techniques sur les premiers films (1933-1939) ............................................................................................. 51 Notes techniques sur Rythmetic (1956) ................................................................................................................... 54 Notes techniques sur Serenal (1959)........................................................................................................................ 56 Notes techniques sur Mail Early for Christmas (1959)............................................................................................. 56 Notes techniques sur Short and Suite (1959) .......................................................................................................... 57 Notes techniques sur Sphères (1969)....................................................................................................................... 58 Notes techniques sur Synchromie (1971) ................................................................................................................ 60 Notes techniques sur Étoiles et Bandes (1939), Boogie-Doodle (1940), Points (1940), Boucles(1940), Mail Early for Christmas(1941), V for Victory (1941), Hen Hop (1942) ..................................................................................... 62 Notes techniques sur Five for Four (1942), Dollar Dance (1943), Hoppity Pop (1946)............................................ 63 Notes techniques sur l'animation image par image de personnages humains (1952) ........................................64 Notes techniques sur la production de son animé optique suivant la méthode des cartes de son (1952)........ 69 L'animation stéréoscopique (1951)........................................................................................................................... 80 Bande son par dessin direct pour débutants (1969) ............................................................................................... 91 Notes sur le son animé tel que mis au point à l’ONF selon la technique des cartes (1952) ................................ 96 Index des films.......................................................................................................................................................... 101 2 Notes techniques sur Alouette (1944) De la série de chants en choeur Let’s All Sing Together. No.1 (noir et blanc) La musique a été préalablement enregistrée. Nous avons procédé de la façon habituelle en calculant en nombre d'images sur la piste sonore les mesures rythmiques, les phrases musicales ainsi que les mots de la chanson. Ces valeurs ont ensuite été inscrites sur une fiche de tournage qui allait nous servir de guide. Les images ont été animées par simples découpages de papier blanc que l'on a déplacés vue par vue sur une surface noire. Norman McLaren (1944, révisé en 1984) 3 Notes techniques sur Ballet Adagio (1972) Nous avons réalisé ce film au ralenti dans le but de montrer aux étudiants de ballet la « mécanique » des corps en mouvement dans un lent et difficile pas de deux classique et aussi, grâce à la lenteur du mouvement, de révéler aux yeux du spectateur moyen la beauté de la danse. L'ensemble du film a été tourné à 96 images par seconde pour obtenir un mouvement quatre fois plus lent que la normale. Comme nous voulions faire le film sur une seule bobine 35 mm, nous avons dû choisir dans le répertoire des deux danseurs1 un pas de deux d'une durée de deux minutes. Le premier jour de tournage les danseurs exécutèrent cinq différents pas de deux. J'ai choisi celui qui comportait des mouvements très rapides, tiré du ballet Spring Water chorégraphié par le Russe A. Messerer sur une musique de Rachmaninov. Nous avons filmé avec deux caméras, l'une pour les plans d'ensemble et l'autre pour les plans rapprochés. L'exécution du pas de deux a été faite sur la musique de Rachmaninov enregistrée sur bande magnétique. La durée de l'adagio, des deux minutes initiales, était passée à dix minutes après montage. L'étape suivante fut de trouver une nouvelle musique plus lente que celle sur laquelle les danseurs avaient dansé et possédant le tempo et la durée les mieux adaptés à notre version de 96 images par seconde. Le climat humain qui ressortait de notre ballet au ralenti différait sensiblement de celui du ballet original exécuté à vitesse normale. La musique que nous recherchions devait par conséquent refléter ce nouveau climat. L'écoute d'enregistrements de diverses pièces musicales susceptibles de convenir à notre projet n'ayant donné aucun résultat, nous avons envisagé de recourir à une composition originale pour finalement reprendre plus intensivement notre recherche parmi les musiques enregistrées. Nos efforts ont été récompensés par la découverte de l'Adagio d'Albinoni, au tempo et climat appropriés, et dont la longueur correspondait presque exactement à nos besoins. En répétant un passage de ce morceau, nous avons pu le faire correspondre à la durée des images. Norman McLaren (1972-1973) 1 Les danseurs canadiens David et Anne-Marie Holmes qui vivent à Londres en Angleterre. 4 Notes techniques sur Blinkity Blank (1955) L’aspect visuel Ce film d’animation réalisé sans caméra a été gravé directement sur une pellicule recouverte d’émulsion noire au moyen d’un couteau, d’une aiguille et d’une lame de rasoir. Des colorants transparents et une
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