《精灵旅社》萌怪炼成记.docVIP

《精灵旅社》萌怪炼成记 　　Animation supervisor Bill Haller had been with Sony for over seven years， and Hotel Transylvania had been in development throughout that time. Ive been chasing it the whole time， its been a dream project， he says. I mean， cartoon monsters？ What animator wouldnt want to work on that？ However， the making progress of the lovely monsters was tough. 　　动画监制比尔?哈勒之前已在索尼公司工作了七年多，在此期间，《精灵旅社》一直在制作当中。“我始终在跟进这部影片，这一直是个让人梦寐以求的项目，”他说，“我是说，设计卡通怪物啊，有哪个动画师不想做这份工作呢？”不过，当时创作片中这些萌怪的过程却并不那么轻松。 　　Vampire Dracula 　　In this film we had a lot of instances where a character would hit a pose and freeze， almost like in a 2D film1）， and the silhouette2） had to be really strong， says Haller. Proprietary3） tool Silhouette was used to create the poses， enabling animators to draw wires on top of the geometry4） and then pull those wires to manipulate5） it. While the frozen positions reduced some of the character animation requirements， additions such as Draculas cape added more. Sometimes we wanted the cape to be closed， sometimes open， and sometimes we wanted it to come off his body and do its own thing， Haller explains. This required an elaborate cape rig6） with five layers of controls. The controls brought the cape to 60～80 percent completion before it was handed to the cloth department for final detailing. 　　Dracs cape was also an important element in the films sound design and the Foley Artists7） collaborated to find the right props to create the sound for it using an umbrella and a piece of fabric. 　　Murray the Mummy 　　Murray the Mummy is a round， blobby8） character with eyes peering from between the bandages. The director Tartakovsky wanted to make him lively and eccentric， running animation tests ranging from moving him about like a big ball to more traditional Egyptian mummies movements. The animators went for personality， starting with his entrance. As the Mummy comes into the hotel， he enters in a sandstorm tornado that stretches towards the ceiling. A particle sys