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> Ritorno dell'animazione 2D, Walt Disney Animation Studios
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messaggio 21/4/2022, 13:21
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Eric Goldberg ha annunciato ufficialmente che la Disney torna a realizzare film e serie tv in animazione tradizionale, disegnati a mano, in 2D .

Tra le serie sicuramente ci sarà Tiana.

E comunque torneranno anche i film.

Floyd Norman dice che realizzeranno anche film ibridi tra 2D e CGI

Anche Jennifer Lee ha confermato che stanno lavorando a progetti in 2D.


Eric Goldberg : "plans for upcoming 2D projects run the gamut from legacy to originals to hybrids, and will include features and series."
Floyd Norman : "Perhaps we’ll be doing something more like a hybrid where there might be a combination of hand-drawn and digital together in a film."


Dal sito IndieWire:

‘Sketchbook’: Disney’s Return to 2D Animation Reinforced by Documentary Series

Streaming April 27 on Disney+, the doc series about the art of hand-drawn animation arrives as the studio returns to traditional 2D.

“Sketchbook,” Disney’s six-part documentary series devoted to the art of hand-drawn animation (streaming April 27 on Disney+), arrives as the studio embarks on the welcome return of traditional 2D — just ahead of its 100th anniversary in 2023. Produced by the team behind “Chef’s Table” and Walt Disney Animation Studios (via executive producer Amy Astley), the series provides an intimate look at six Disney artists and their distinctive talents and passions as they draw favorite iconic characters. It’s more than instructional — it’s a journey into their styles and personalities and overcoming personal obstacles. Story artist Gabby Capili (“Encanto”) draws Kuzco from “The Emperor’s New Groove,” 2D animator-director Eric Goldberg draws The Genie from “Aladdin,” 2D animator Mark Henn draws Simba from “The Lion King,” visual development artist Jin Kim draws Captain Hook from “Peter Pan,” supervising animator Hyun Min Lee draws Olaf from “Frozen,” and story artist Samantha Vilfort draws Mirabel from the most recent Oscar-winning “Encanto.”

“I think people like finding out about people who are associated with the things that they love, and the fact that this medium is so collaborative,” Goldberg told IndieWire. “It wasn’t just me doing The Genie. We had about eight animators and, of course, [directors] Ron [Clements] and John [Musker] and the writers and Robin [Williams] brought a ton to it. And it’s so rewarding to [study] because you get to understand those personal signatures that those artists bring to the characters. And, in animation, it’s more than drawing, it’s about timing and spacing, and how they move.”

Lee said that drawing is a great way to shed light “on all the different aspects of how the films come to be, how the characters come to be, and also how these people become animators. Hopefully, [the series] gives people more interest in the art form.” But she’s particularly thrilled that 2D is returning in a big way after Disney abandoned it theatrically in the wake of 2011’s under-performing “Winnie the Pooh.” “From the student side, it never went away,” she said.

Indeed, 2D has maintained a foothold at Disney. There have been several shorts, including the Oscar-winning “Paperman” (2012), which was an attempt to bring 2D into the 21st century with the advent of the digital line drawing tool Meander, which is still utilized at the studio. And, more recently, there have been experiments with hand-drawn through the Short Circuit program, as well as legacy special projects, including the “Drawn to Life” stage show with Cirque du Soleil at Walt Disney World’s Disney Springs. Additionally, there was the “Moana” hand-drawn moving tattoo sequence supervised by Goldberg. Plus, the studio routinely does development tests and draw-overs on the CG-animated features.

But a larger commitment to hand-drawn animation came at the end of last year with the launch of the first training program in more than a decade by chief creative officer Jennifer Lee and producer-turned-Disney Animation Studios-president Clark Spencer (“Encanto”). Under the mentorship of Goldberg, Henn, Randy Haycock, and Rachel Bibb, there were six trainees selected this year out of more than 2,000 applicants. The 12-month training program encompasses character and effects animation along with cleanup.

“I’ve been campaigning for a long time to train up people in hand-drawn, and, as the CG films became more and more popular, that idea became less and less important to the studio,” Goldberg said. “But now we have an atmosphere and a group of people who recognize that’s part of the legacy here, and to actually have content that requires hand-drawn animation is absolutely great. Thank goodness we have people who can do both here, but to actually commit to training up a new generation is a wonderful thing and I think perfectly appropriate for [us].” Goldberg said plans for upcoming 2D projects run the gamut from legacy to originals to hybrids, and will include features and series.

The emergence of the Disney+ platform factored into reconnecting with the studio’s animated DNA. As a result, they’re in the process of revamping the pipeline digitally, in which hand-drawn will play a role. According to Goldberg, this will give artists the freedom to include 2D wherever they want,

“One thing that excites all of us hand-drawn people is that not everything has to look like traditional outline and cel paint, and we can do things that are different stylistically,” said Goldberg. “The more that we can use the techniques and the principals to give people something they’ve never seen before, is really what it’s about.”

Disney Legend Floyd Norman — who will be honored Friday at the TCM Classic Film Festival in Hollywood with a screening and Q&A discussion of “The Jungle Book” — believes the studio returning to its roots is long overdue. “I think there are fantastic things yet to be discovered with this art of animation,” he added. “Perhaps we’ll be doing something more like a hybrid where there might be a combination of hand-drawn and digital together in a film.”

Floyd, who turns 87 in June, recently contributed to the documentary “Mickey: The Story of a Mouse,” tracing the evolution and impact of Disney’s most famous animated character. Directed by Jeff Malmberg (“Marwencol”), “Mickey” premiered at SXSW and will stream on Disney+ in the fall. “I remain very enthusiastic about Disney’s animation unit,” he added. “I’ll be kind of like looking over their shoulder, and I’ll certainly be watching what’s going on in hand-drawn, traditional animation.”






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messaggio 21/4/2022, 13:57
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Cauto ottimismo. Troppe volte ho sentito dire, anche dalle voci più autorevoli, che il 2D stava per tornare.
Ovviamente tengo le dita incrociate (e spero che alla base ci siano prodotti validi)
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Beast
messaggio 21/4/2022, 14:18
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Titolo di giornale markettaro per attirare l'attenzione su questa serie. Per me è solo fumo.
Sono pessimista, non lo nego.


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Under the sea
messaggio 21/4/2022, 14:20
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Sinceramente me lo sentivo.
Intravedevo sempre più 2D nei loro progetti.
Però metto le mani avanti, sicuramente se i film o le serie non avranno successo,non ci metteranno niente ad abbandonarlo di nuovo.
In ogni caso spero che sia animazione di livello,rimango comunque super felice.
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Daydreamer
messaggio 21/4/2022, 17:50
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Mi spaventano i costi troppo grandi per un film intero nell'epoca di oggi, per questo credo che saranno solo momenti e inframezzi di un film in CGI o episodi tv. Spero di sbagliarmi.
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GayFairytale
messaggio 21/4/2022, 18:57
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Sono cautamente ottimista
Secondo me faranno prima un film ibrido, in 2.5D, poi quando faranno un film solo in 2D sarà un successo stratosferico, fracasserà i botteghini ( soprattutto se sarà una fiaba con principesse, principi e cattivi carismatici ) e i film solo in 3D flopperanno, perché a quel punto il pubblico vorrà di nuovo solo l'animazione dei vecchi Classici, accettando al massimo come alternativa i film ibridi, e sarebbe l'ideale se la computer grafica diventasse un esclusiva Pixar
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Angelo1985
messaggio 23/4/2022, 15:11
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Non credo a una sola parola.
Sono i peggiori markettari di loro stessi e sanno perfettamente che, dopo 20 anni di indottrinamento nel "gusto" 3D, solo qualche aficionado correrebbe al cinema; gli altri verrebbero attirati solo e soltanto da come confezioneranno e venderanno la storia.
Forse una storia ambientata in Zimbabwe, con un protagonista islamico innamorato di una ragazza nera del posto ma già legata a una giapponese in missione con Emergency, tutti ostacolati dai piani oscuri di un prete bianco e con canzoni in lingua shona sottotitolate in cinese a caratteri color arcobaleno, potrebbe risultare appetibile per il moderno pubblico Disney e non.
Chiaramente, meglio se tesserabile al partito durante il Disney pre-show.

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Hiroe
messaggio 24/4/2022, 1:01
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Beh, anche Lasseter quando fu nominato capo creativo della Pixar promise un ritorno al 2D, e la cosa andò male perché Tiana fece flop (ma nel futuro si è ripreso ed è stato apprezzato da molti) e Winnie the Pooh, seppur fosse un ottimo film, attraeva ormai soltanto bambini molto piccoli e non ci credettero nemmeno loro tanto che lo tennero al cinema per pochissimo tempo.

Sarà la volta della Lee provare a rivivere la magia del 2D negli studios. Ultimamente con il programma Short circuit hanno tirato fuori tanti nuovi metodi d'animazione interessanti ed affascinanti, ibridi e non, e con la piattaforma da rimpinguare era abbastanza logico che rispolverassero anche il 2D, se non altro per fare tante serie animate dedicate ai franchise più amati come le principesse.
Vediamo la Lee cosa riuscirà a fare. Io non sono molto propensa all'ottimismo, ma se ogni tanto tirassero fuori una fiaba in 2D secondo me il suo pubblico ce l'avrebbe. Una ogni tanto secondo me non farebbe male, e di certo non potrà fare peggio di un Raya, per esempio.


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