Heritage film 2019
Shooting of the puppets are carried out with a Mark II camera in format and in 4K resolution, suitable for a large screen. In , director Stanislav Sokolov revealed the project initially split into different arcs would be combined into one feature film. Cartoon Brew. Hoffmaniada was recorded by a dozen member team with the talents of art director Elena Livanova, cameraman Igor Skidan-Boshin, two multipliers, two artists Ekaterina Bogacheva, Natalia Varlamova, assistant artist, props with others working outside the studio.
Украинские названия зарубежных фильмов часто отличаются от российских, но до сих пор многие украинские кинотеатры берут названия с российских сайтов, вместо того, чтобы переводить с украинского. Чтобы такой неразберихи не было у нас, мы сделали отдельные локализованные версии для украинских и для российских зрителей.
Мировая премьера: 13 сентября Capitaine Dubreuil Барбара Кабрита Tessa Perrin Дайан Роберт Nathalie Perrin Роман Портай Marianne Perrin Бернар Верле Christophe Perrin Сирил Гуи A Hoffmann himself, who is rejuvenated as a poor student Anselm who travels and interleaves the many fairy-tales described by the film.
A Hoffmann himself is transported into the magical world of his own fairy-tales and lives with his own characters. The film depicts the author as participating in his own plots where good triumphs over evil. The film makers wanted to unearth the inner emotions and thoughts the author himself would have undergone when writing the dramatic stories such as The Sandman.
In November , a preliminary twenty minute exhibition was held in Petersburg House of Cinema, featuring the main cast of about twenty puppets. Each puppet took no less than a month to make. In the spring of , a group of puppeteers created the dolls first before the script was made. The actual filming period for the rest of the film began in the summer. The animators wished to convey different layers of creativity and believed the film will be realized with utmost care.
So they believed a slow production cycle while focusing more on details.
In , after the completion of the sketches for the images of cartoon characters, the next stage in the production of dolls and filming process began. Initial reaction kept referencing the similarity of facial expressions between the puppet Hoffmann and director Stanislav Sokolov.
Also, the official English name was revealed to be Hoffmaniada. The film was intended as a wide release film of 78 minutes within the scope of ambition in context of the days of insolvency in A premiere at the Petersburg House of Cinema was held in despite the constrained budget.
The animators then once thought of getting financial assistance from the West. However, as of January , the film crew were either not being paid at all as during one 6-month period or being paid very little, so progress was very slow. The studio was also battling the aftermath of the economic downturn bought by the Soviet Union collapse in In , the ruble faced devaluation that bought on financial debt to many companies that lasted to the turn of the 21st century.
From the most acclaimed animation studio of Russia, in their studio built in was almost sold to real estate developers.
A land dispute against the budget-constrained and workforce-downsized association was pitting the animators as they drew and recorded Hoffmaniada. They believed only the policies of a strong president such as President Franklin Roosevelt in the s could save the studio and their culture. According to Moscow Times report, "The Soyuzmultfilm studios are a piece of history and the embodiment of a belief that humor, art and the wacky, wily adventures of two-dimensional animals can cheer, sustain and even elevate or teach.
He expressed hope for completion of the film in two to three years.
In , director Stanislav Sokolov revealed the project initially split into different arcs would be combined into one feature film. The work was exemplary in context to Soyuzmultfilm history that usually featured about seventy people team. Hoffmaniada was recorded by a dozen member team with the talents of art director Elena Livanova, cameraman Igor Skidan-Boshin, two multipliers, two artists Ekaterina Bogacheva, Natalia Varlamova, assistant artist, props with others working outside the studio.
On 8 June , the long-term construction project was presented at the Historical and Art Museum in E. The project managers were able to bypass their original milestone of 78 minutes of footage. The final shot featured actor puppets being recorded in a miniature orchestra box designed in the style of German theatres of the 17th century.
The film will juxtapose documentary elements with the fantasique. The script writer Viktor Slavkin [ ru ] had an innate creativity for writing that he unearthed after he switched his profession from architecture. According to Viktor Slavkin, "If Hoffmann did not have a world of dreams and fantasies, he would inevitably get drunk". The character has appeared in all of the novels described in the film.
A review found the approach to be "organic" to the point where the differences are never apparent. One of the three love stories features the fictional automaton Olympia described in the story The Sandman.
A review found the film to extend the boundaries of fairy-tales into the areas of surrealism. The time periods that the film depicts include the German bourgeoisie. Soyuzmultfilm continued the legacy of the ancient art of puppetry and stop motion.
Despite initial predictions that by the s, 3D would replace the art of stop-motion films, the animators were pleased that students and connoisseurs of puppet animation would return to the studio to resume the art form in the s. The film used all the techniques that digital puppet animation afforded to the animators when the movement started in the s. The technique of replaceable articulation or the use of replaceable lower jaws of the character conditionally imitating speech was a major innovation in puppet animation.
A recording of ancient 18th-century minuets was used to describe the choreography of the dance partners in Hoffmaniada. The film took over nine years to make with just a thirty-minute fragment, not including work on the script, sketches, storyboards, making dolls and scenery, taking more than a year to make. Each day, the animator can record about five seconds of video. Animators revealed despite the difficulties in expressing the puppets in terms of expressions like singing or grimacing, they are more amenable to the animators and therefore are more pleasant to work with.
Each puppet doll was intricately designed by craftsmen by hand.
The characters have unique outfits modeled after sketches that were then attached to the models by pins. For example, Hoffmann is designed with a waistcoat and a frill all stained with coffee and wine. A group of artists in a workshop would have different replacements of each puppet that is made of an amalgam of plastic and steel.
Tatiana Lykosov was the puppet animation director. In order to convey expression onto the puppets it was necessary for the animator to understand the mood of the puppet and how they behave in certain situations.
After sawing the head, the eyes are inserted inside made by balls that move in the same way as in a living person or a bird. The tail made of rubber with a metal hinge structure inside was attached to a coordinate table that moved through cogs. Shooting of the puppets are carried out with a Mark II camera in format and in 4K resolution, suitable for a large screen.
Light filters were used to avoid the puppets having a rough background. Of the many ways to achieve this, Heritales relies mainly on the seventh art of the cinema while also promoting other artistic forms such as photography, interactive media, games, theater and performances. The project encourages cultural sustainability by promoting a broad interpretation of what can be understood as cultural heritage, fostering new ways of education, international scientific collaboration, encouraging intercultural dialogue and outreach to an international audience.
By embracing the practice of itinerant cinema, over the course of twelve months, we aim to show more than 20 films and documentaries in various international locations.
There are no specific rules for participation however the jury will take into consideration the cost of the production of the films. This is in order to establish a fair condition of judgement between all the submitted works. We invite filmmakers and researchers from all over the world to submit their films on the highlighted topic of rites, gatherings and celebrations and to share with the audience your interdisciplinary work.
