So Far Yet So Near

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cineboobs: One of the best—and most memorable—parts of Harry Potter and the Deathly Hallows Part 1 was the animated sequence that illustrated, quite beautifully, The Tale of the Three Brothers (aka, where the Deathly Hallows came from). FXGuide has a great interview with sequence supervisor Dale Newton about how it all came together. An excerpt: We knew it was going to be stylised, but not exactly how. The producers came along with the suggestion of creating something in the vein of Lotte Reiniger, an Austrian-born animator working in the 1930s and 50s doing silhouette style animations. … [Sequence director Ben Hibon] brought along the notion of Eastern shadow puppetry in terms of projecting shadows onto a cloth via a flame. The way that they made these things was to stand behind a bunch of pole puppets and have a fire burning. The closer you were to the fire the more blurry the shadows became, whereas the closer you brought your puppet to the cloth or the surface upon on which the story was told, the crisper it appeared. So we tried to transfer that device and use that in our animation. Pretty interesting stuff. Check out the whole interview here. —Erin Via Pop Culture Brain | Movies TV Music Web Theater Zoom

cineboobs:

One of the best—and most memorable—parts of Harry Potter and the Deathly Hallows Part 1 was the animated sequence that illustrated, quite beautifully, The Tale of the Three Brothers (aka, where the Deathly Hallows came from). FXGuide has a great interview with sequence supervisor Dale Newton about how it all came together. An excerpt:

We knew it was going to be stylised, but not exactly how. The producers came along with the suggestion of creating something in the vein of Lotte Reiniger, an Austrian-born animator working in the 1930s and 50s doing silhouette style animations. … [Sequence director Ben Hibon] brought along the notion of Eastern shadow puppetry in terms of projecting shadows onto a cloth via a flame. The way that they made these things was to stand behind a bunch of pole puppets and have a fire burning. The closer you were to the fire the more blurry the shadows became, whereas the closer you brought your puppet to the cloth or the surface upon on which the story was told, the crisper it appeared. So we tried to transfer that device and use that in our animation.

Pretty interesting stuff. Check out the whole interview here. —Erin


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    loved this sequence. These animators were brilliant
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    cloak of invisibility!
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    Couldn’t agree more.
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    One of the best—and most memorable—parts of Harry Potter and the Deathly Hallows Part 1 was the animated sequence that...
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    I found the animation amazing. It was epic. Not necessarily Pixar-like. But it was flawless.
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