{"id":24043,"date":"2022-11-21T15:10:57","date_gmt":"2022-11-21T15:10:57","guid":{"rendered":"https:\/\/www.lidemschool.com\/?p=24043"},"modified":"2022-11-21T15:11:10","modified_gmt":"2022-11-21T15:11:10","slug":"mocca-analisi-de-lstoryboard","status":"publish","type":"post","link":"https:\/\/www.lidemschool.com\/fr\/blog\/mocca-analisi-de-lstoryboard\/","title":{"rendered":"‘Mocca’: an\u00e1lisis del storyboard"},"content":{"rendered":"

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Le projet final des \u00e9tudiants en animation 3D, en 3D g\u00e9n\u00e9raliste et en art de 2022 est \u00ab\u00a0Mocca<\/strong><\/a>\u00ab\u00a0. Un court m\u00e9trage qui nous invite \u00e0 r\u00e9fl\u00e9chir au rythme de vie actuel et \u00e0 la n\u00e9cessit\u00e9 d’opter pour un mode de vie plus lent et plus conscient. Dans ce billet, nous allons analyser le travail d\u00e9velopp\u00e9 dans le domaine du storyboarding par Antonio Santamar\u00eda, professeur \u00e0 L’Idem.<\/p>\n

Le court-m\u00e9trage fonctionne comme un v\u00e9ritable projet. \u00ab\u00a0Il ne peut y avoir d’erreur ou de retard dans la livraison, car de nombreux \u00e9tudiants attendent le storyboard pour commencer leur travail\u00a0\u00bb, a expliqu\u00e9 Antonio. En ce sens, et depuis sa position de coordinateur des histoires, il a veill\u00e9 \u00e0 ce que \u00ab\u00a0les \u00e9tudiants qui r\u00e9alisent cette section le fassent bien et \u00e0 temps\u00a0\u00bb.<\/p>\n

Le storyboard de \u00ab\u00a0Mocca\u00a0\u00bb<\/h2>\n

Pour un projet de la nature de \u00ab\u00a0Mocca\u00a0\u00bb, Antonio Santamar\u00eda choisit g\u00e9n\u00e9ralement deux \u00e9tudiants pour d\u00e9velopper le sc\u00e9nario graphique de l’histoire. Cependant, \u00ab\u00a0dans cette promotion, l’int\u00e9r\u00eat pour la profession de conteur et la grande qualit\u00e9 dont les \u00e9tudiants ont fait preuve au cours du dipl\u00f4me, m’ont amen\u00e9 \u00e0 d\u00e9cider d’augmenter le nombre de participants \u00e0 trois\u00a0\u00bb, a-t-il expliqu\u00e9. Et dans ce court m\u00e9trage, il a choisi les \u00e9l\u00e8ves qui, tout d’abord, sont int\u00e9ress\u00e9s par la r\u00e9alisation du storyboard et ensuite, ont la qualit\u00e9, le s\u00e9rieux et la motivation n\u00e9cessaires pour les mener \u00e0 bien.<\/p>\n

Trois personnes se sont inscrites pour ce court-m\u00e9trage. D’une part, Laura Guasch et Estela Capallera, \u00e9tudiantes sp\u00e9cialis\u00e9es en animation qui, comme l’explique Antonio, \u00ab\u00a0ont toujours r\u00e9alis\u00e9 les exercices de storyboard avec une grande solvabilit\u00e9 et des crit\u00e8res cin\u00e9matographiques\u00a0\u00bb. Et, d’autre part, \u00c1lvaro Pozo, un \u00e9tudiant sp\u00e9cialis\u00e9 en art avec une grande capacit\u00e9 \u00e0 d\u00e9velopper des concepts visuels. Le travail de storyboard a \u00e9t\u00e9 divis\u00e9 en trois parties homog\u00e8nes \u00ab\u00a0en veillant \u00e0 ce que chacune d’entre elles commence par une nouvelle s\u00e9quence afin que la production et la fa\u00e7on de raconter les plans ne souffrent pas trop\u00a0\u00bb, a d\u00e9clar\u00e9 Antonio.<\/p>\n

Mocca’ se d\u00e9roule principalement dans un espace tr\u00e8s r\u00e9duit : l’int\u00e9rieur de la caf\u00e9t\u00e9ria. Et elle s’\u00e9tend tout au plus \u00e0 l’ext\u00e9rieur de la caf\u00e9t\u00e9ria et aux locaux environnants, \u00e0 l’int\u00e9rieur du centre commercial. Par cons\u00e9quent, selon notre professeur, \u00ab\u00a0il n’a pas fallu faire preuve d’une grande virtuosit\u00e9 dans les grands plans d’ensemble, mais plut\u00f4t d’une plus grande attention et d’un plus grand soin dans la mise en sc\u00e8ne au sein de ce petit espace\u00a0\u00bb. L’utilisation d’\u00e9l\u00e9ments superpos\u00e9s ou de cadrages int\u00e9ressants, qui permettaient de tirer parti des possibilit\u00e9s offertes par la mod\u00e9lisation 3D, ont \u00e9t\u00e9 des param\u00e8tres \u00e0 suivre dans la r\u00e9alisation des plans.<\/p>\n

Assurer la liaison avec le d\u00e9partement 3D<\/h2>\n

Ce court m\u00e9trage a constitu\u00e9 un d\u00e9fi int\u00e9ressant pour les storyobardeurs : si les plans devaient \u00eatre relativement rapproch\u00e9s, l’expressivit\u00e9 des personnages devait \u00eatre d\u00e9finie. Et la premi\u00e8re chose qu’ils ont d\u00e9couvert, c’est que les personnages… \u00e9taient des robots ! Dans le travail de storyboard, les \u00e9tudiants ont d\u00fb travailler sur de nombreuses nuances d’interpr\u00e9tation et de gestes visuels pour que l’histoire coule et soit parfaitement comprise.<\/p>\n

Tout au long du processus de cr\u00e9ation, les artistes du storyboard ont travaill\u00e9 en \u00e9troite collaboration avec le d\u00e9partement de mod\u00e9lisation 3D, car les personnages avaient un mode de fonctionnement tr\u00e8s sp\u00e9cifique. Par cons\u00e9quent, lors de la conception des plans, ils ont d\u00fb partir de la base sur laquelle les coll\u00e8gues de la 3D cr\u00e9aient chaque personnage.<\/p>\n

 <\/p>\n

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Mocca, le propri\u00e9taire du caf\u00e9, est lui-m\u00eame un cafetier vivant. Il moud le caf\u00e9 dans sa t\u00eate, en soulevant un couvercle \u00e0 l’italienne. Le caf\u00e9 moulu passe par lui, se m\u00e9lange \u00e0 l’eau et finit par sortir d’un de ses doigts, directement dans la tasse du consommateur. Tout ce circuit devait \u00eatre fid\u00e8le \u00e0 la mod\u00e9lisation qui \u00e9tait faite et, par exemple, Laura, qui \u00e9tait charg\u00e9e de la premi\u00e8re partie, l’a si bien faite qu’on aurait dit qu’elle \u00e9tait d\u00e9j\u00e0 anim\u00e9e en 2D.<\/p>\n

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Pour les nuances de Latte Estela a apport\u00e9 un grand soin \u00e0 l’expressivit\u00e9 du personnage et a su lui donner \u00ab\u00a0cette gr\u00e2ce, cette na\u00efvet\u00e9 et cette jovialit\u00e9 que le robot transmet\u00a0\u00bb, a expliqu\u00e9 Antonio. \u00ab\u00a0Ces interpr\u00e9tations, l’id\u00e9e d’ajouter un affichage par le biais d’une sorte de gagas VR et la transformation de Mocca en une sorte de super robot \u00e0 caf\u00e9 ont fait grandir l’histoire visuellement de mani\u00e8re extraordinaire\u00a0\u00bb.<\/p>\n

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\u00c1lvaro s’est concentr\u00e9 sur le storyboard \u00e0 la fin du court-m\u00e9trage. \u00ab\u00a0L’ajout d’un panneau ext\u00e9rieur indiquant \u00ab\u00a0Plus lent, mais meilleur\u00a0\u00bb ferme la boucle et contraste avec la fa\u00e7on de pr\u00e9parer les caf\u00e9s que la machine concurrente avait avec son \u00ab\u00a0Nouveau plus rapide\u00a0\u00bb\u00a0\u00bb, explique Antonio.<\/p>\n

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Le projet final des \u00e9tudiants en animation 3D, en 3D g\u00e9n\u00e9raliste et en art de 2022 est \u00ab\u00a0Mocca\u00a0\u00bb. Un court m\u00e9trage qui nous invite \u00e0 r\u00e9fl\u00e9chir au rythme de vie actuel et \u00e0 la n\u00e9cessit\u00e9 d’opter pour un mode de vie plus lent et plus conscient. Dans ce billet, nous allons analyser le travail d\u00e9velopp\u00e9 […]<\/p>\n","protected":false},"author":7,"featured_media":22767,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","content-type":"","inline_featured_image":false,"footnotes":""},"categories":[38],"tags":[663],"class_list":["post-24043","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-animacion","tag-curtmetratge-fr"],"yoast_head":"\nL'Idem Barcelona | 'Mocca': analizamos el trabajo de storyboard<\/title>\n<meta name=\"description\" content=\"Antonio Santamar\u00eda analiza la tarea llevada a cabo por los storyboard artist de 'Mocca': Laura Guasch, Estela Capallera y Alvaro Pozo.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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