10-03-2012, 06:03 PM
Join Date: Dec 2010
Location: The Front Range, CO
Originally Posted by Wiki
Adding to the dream-like effect, the film used an animation technique based on rotoscoping. Animators overlaid live action footage (shot by Linklater) with animation that roughly approximates the images actually filmed. This technique is similar in some respects to the rotoscope style of 1970s filmmaker Ralph Bakshi. Rotoscoping itself, however, was not Bakshi's invention, but that of experimental silent film maker Max Fleischer, who patented the process in 1917. A variety of artists were employed, so the feel of the movie continually changes, and gets stranger as time goes on. The result is a surreal, shifting dreamscape.
The animators used inexpensive "off-the-shelf" Apple Macintosh computers. The film was mostly produced using Rotoshop, a custom-made rotoscoping program that creates blends between keyframe vector shapes (the name is a play on popular bitmap graphics editing software Photoshop, which also makes use of virtual "layers"), and created specifically for the production by Bob Sabiston. Linklater would again use this animation method for his 2006 film A Scanner Darkly.
Split pot, we call that.
I was mainly pointing out that rotoscoping predates computer imaging whereas digital keyframing would obviously have to come later.