9871 Km (2020)

The short film that brought us together, where our pipeline was first experimented.

9871 Km (2020)

Two kids find themselves facing a new obstacle to their love: distance. With the departure and separation of the two, it begins a metaphorical race in search of a new opportunity to reunite. Long-distance relationships can be challenging, but the emotion one feels when reuniting is an incredible, intense explosion of feelings, such only because at the height of a transitory period of waiting and patience. This short film aims to portray this emotion.

A little conversation with Fabrizio...

The adoption of the sign and the return to visual elements of traditional animation can take 3D animation to a new level of expression and, above all, give the possibility of creating endless new perspectives and combinations to finally break the baggage of stylistic uniformity that 3D has so far brought with it. The paths taken so far are varied and original. Some productions have opted to project hand-painted images onto 3D models, others have opted to recreate effects in 3D that recall illustration, and still, others have ended up creating a new visual language in the round, such as Spider-Man: Into the Spider-Verse for which the filmmakers have not limited themselves to the representational aspect alone but have involved various solutions on numerous levels, experimenting with frame rates, the insertion of Pop frames, action lines, and more. Spider-Man: Into the Spider-Verse showed us how it is possible to reinvent animation and its rules and demonstrates how this visual language involves small animation studios and large productions, shedding light on this potential worldwide. The notions gleaned from the study carried out were applied in the making of a short film for which I adopted an original and experimental technique. The settings and characters were created 3D using Blender, a free 3D animation and modeling software. Ebsynth, a free software whose operation is quite simple, was used to transform the character animation into 2D. The program takes as input a video clip of the animation exported in individual frames and a drawn or painted reference frame. It then mimics the style of the reference frame on the rest of the frames made available as input. The reference frame was created using the digital painting software Photoshop.

On the other hand, I drew digital textures to leave the brush strokes visible for the settings. Textures were then projected onto the various objects whose renders were exported separately on various layers, which were then recomposed at the editing stage. During the final editing and sound design phase, additional lighting and effects were added in a callback to traditional animation in addition to making the sequences visibly more consistent through a color correction process. The writing of the dissertation aimed at providing a creative and inspirational cue for researching new forms in animation and defining today's animation development.