ディズニープリンセス
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ディズニープリンセス 質問
What do あなた guys have to say about this?
Steve Hulett wrote:
While wandering the halls of the hat building yesterday, I chanced on one of the traditional animators working there. He said:
"We're developing a bunch of different projects to 表示する John Lasseter. It's a complicated process. We pitch to a development group, they tell us which ones they like, then tell us that people who're pitching need to develop three pitches for John, since he likes artists 表示中 him three things. And when we do pitch, it's made clear to us that the stories aren't necessarily for a hand-drawn project. When we've brought it up with John Lasseter, he's shied away from committing to a hand-drawn feature..."
This is a turn-around from a few years ago, when the idea was to have hand-drawn features created in Burbank, and the CG features produced at Emeryville.
My thought is: John Lasseter is a smart man. He likes hand-drawn but he recognizes they way the wind is blowing. The Princess and the Frog grossed $300 million globally; 塔の上のラプンツェル grossed twice that. When the gap is so wide, it's an easy corporate decision to say: "We're going with CGI."
Ron Clements and John Musker are developing a hand-drawn feature that, if what I've been shown holds up, will look one hell of a lot different from 表示する White. The scuttlebutt I've heard indicates that Mr. Lasseter isn't as keen on greenlighting hand-drawn epics as he was a few years ago. But who inside Diz Co. could blame him? もっと見る than overseeing hand-drawn animation, John Lasseter wants to win. And he's probably made the judgment that creating hand-drawn features isn't a winning corporate strategy.
Even so, I was disheartened to read this from Mr. Kousac down below:
"Thankfully, no "hand drawn" カートゥーン are in the work at ディズニー for the foreseeable future. Looking フォワード, 前進, 楽しみにして to seeing the ディズニー artists take hold of their new digital tools."
Sorry, Mr. Kousac. あなた can be as glad as あなた like ディズニー hasn't got any hand-drawn features on its "to do" list. But I think
While wandering the halls of the hat building yesterday, I chanced on one of the traditional animators working there. He said:
"We're developing a bunch of different projects to 表示する John Lasseter. It's a complicated process. We pitch to a development group, they tell us which ones they like, then tell us that people who're pitching need to develop three pitches for John, since he likes artists 表示中 him three things. And when we do pitch, it's made clear to us that the stories aren't necessarily for a hand-drawn project. When we've brought it up with John Lasseter, he's shied away from committing to a hand-drawn feature..."
This is a turn-around from a few years ago, when the idea was to have hand-drawn features created in Burbank, and the CG features produced at Emeryville.
My thought is: John Lasseter is a smart man. He likes hand-drawn but he recognizes they way the wind is blowing. The Princess and the Frog grossed $300 million globally; 塔の上のラプンツェル grossed twice that. When the gap is so wide, it's an easy corporate decision to say: "We're going with CGI."
Ron Clements and John Musker are developing a hand-drawn feature that, if what I've been shown holds up, will look one hell of a lot different from 表示する White. The scuttlebutt I've heard indicates that Mr. Lasseter isn't as keen on greenlighting hand-drawn epics as he was a few years ago. But who inside Diz Co. could blame him? もっと見る than overseeing hand-drawn animation, John Lasseter wants to win. And he's probably made the judgment that creating hand-drawn features isn't a winning corporate strategy.
Even so, I was disheartened to read this from Mr. Kousac down below:
"Thankfully, no "hand drawn" カートゥーン are in the work at ディズニー for the foreseeable future. Looking フォワード, 前進, 楽しみにして to seeing the ディズニー artists take hold of their new digital tools."
Sorry, Mr. Kousac. あなた can be as glad as あなた like ディズニー hasn't got any hand-drawn features on its "to do" list. But I think
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