“It was incredibly liberating for us,” co-creator Hugh Welchman says of the more epic and immersive follow-up to ‘Loving Vincent,’ based on Władysław Reymont’s Nobel Prize-winning literary work.
which is receiving a world premiere in Toronto, the directors had the freedom of embracing an epic 19th century Poland and a far wider range of realist and pre-impressionist paintings for the animated film inspired by their source material, the Nobel prize-winning novel of the same name by Wladyslaw Reymont.
“It was incredibly liberating for us. This is very fast-paced, we have dances, we have this big battle. And we were able to be free with the camera, to have that camera get inside the action,” Hugh Welchman added. “When he describes colors of clothes and reflections in the clothes, he has one-page descriptions of whirling and dancing, and it’s really an impressionistic style of narration,” she said. At root,called for shooting a live-action feature and then hand-painting the footage using a frame-by-frame animation technique similar to stop motion.
For sets, houses were constructed using metal frames covered by cardboard as artists would eventually paint over each frame. The live-action scenes were then composited together using Photoshop, and set extensions were completed with Maya software. In addition, 2D and CGI animation was used to create small characters and animals.
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