#benoît chieux

[you-should-care-about-animation]

Sirocco and the Kingdom of the Winds | Benoît Chieux

New trailer dropped! The amount of hype I feel for this movie is insane, can't wait to see it!

short preview:

#Benoît Chieux #animation #Sirocco and the Kingdom of the Winds #i actually liked the previous teaser even more but i can't find it the youtube search is awful

[gebo4482]

SIROCCO ET LE ROYAUME DES COURANTS D'AIR - Bande-annonce

Dir: Benoît Chieux Star: Loïse Charpentier / Maryne Bertieaux / Aurélie Konaté

#sirocco et le royaume des courants d'air #sirocco and the kingdom of the winds #benoît chieux #animation #fantasy movies #adventure movies #trailer #bande annonce #Youtube

[kustas]

#i might post individual tidbits of this its a nice interview! #ideally i'd illustrate them with gifs from the movie but that's gonna be hard as i dont have it #animation #french animation #european animation

[preparfa-2024-guillaumecalmel]

Post N°65

Un projet d'animation à TUMO, au forum des images !

A l'occasion du Cadavre Exquis 2023, nous avons eu la chance de participer à un projet de court métrage d'animation au sein de TUMO.

Le réalisateur Benoît Chieux nous a imposé des contraintes précises dans ce projet, la première étant d'utiliser son œuvre dans le court métrage (la statuette à la double moustache).

J'ai réalisé cette animation avec deux autres étudiants, l'un a réalisé la stop motion, l'autre les décors et couleurs et je me suis occupé du charadesign, du storyboard et de l'animation !

Voici nos premiers sketchs des personnages !

Octobre 2023

[deadlinecom]

[uykulupsikolog]

Annecy 2023 Official Feature Film Selections Revealed

11 animated features have been chosen to compete at this year's festival, including ‘Art College 1994’ by Liu Jian, ‘La Sirène’ by Sepideh Farsi and ‘Sirocco and the Kingdom of Air Streams’ by Benoît Chieux; the 47th edition of the festival runs June 11-17. from AWN Headline News https://ift.tt/gRhxHEj

[fata-cu-palarie-neagra]

Annecy 2023 Official Feature Film Selections Revealed

11 animated features have been chosen to compete at this year's festival, including ‘Art College 1994’ by Liu Jian, ‘La Sirène’ by Sepideh Farsi and ‘Sirocco and the Kingdom of Air Streams’ by Benoît Chieux; the 47th edition of the festival runs June 11-17. from AWN Headline News https://ift.tt/LvwWbUf

[detournementsmineurs]

"Dessins Préparatoires" pour "Mia et le Migou" dessin-animé de Benoît Chieux (2008) à l'exposition "Ça Tourne ! : la Fabrique du Cinéma d'Animation" au Musée Crozatier au Puy-en-Velay, Auvergne, France, juin 2020.

#expos #films #illustrations #Chieux #MuseeCrozatier #AuvergneAubrac

[aboutanimation]

DISSONANCE from Matthieu Garcia Marin on Vimeo.

One minute animation short film made at l'école de la Poudrière, as an assignment with the theme "the impostor" as a constraint. - Court-métrage d'animation d'une minute produit à l'école de la Poudrière, en tant qu'exercice avec comme contrainte le thème "l'imposteur".

- direction : Matthieu Garcia Marin sound design and music: Fabrice Faltraue & Matthieu Garcia Marin animation : Mathilde Roy voice: Jérémie Cousin editing : Sylvie Perrin thanks to : Kelsi Phung, Vaiana Gauthier - production : école de la Poudrière ( poudriere.eu/ ) directrice : Annick Teninge directeur des études : Laurent Pouvaret - encadrement : Philippe Traversat, Patricia Valeix, Jean-Luc Gréco, Benoît Chieux, Loïc Burkhardt Bernard Palacios, Roméo Monteiro, Denis Walgenwitz technique : Yves Françon administration : Annick Rivail, Chloé Duc et Pauline Hébard - type font from JB Morizot ( velvetyne.fr ) -

© la Poudrière 2019

[luizdornelas]

Festifrance - Sessão de Curtas de Animação em Competição

Festifrance – Sessão de Curtas de Animação em Competição

Un monde trop petit (Léea Fabreguettes) Cadavre exquis anime (Léa Fabreguettes) Le Jardin de Minuit (Benoît Chieux) Holy chic (Alice Chemama) Guide de Jardinage (Sarah-Jane Scebat-Hatooka) 5 euros (Serge Elissalde)

Classificação indicativa: 10 anos Quando: sábado 08/09/2018 Horário: 18:15 Preço: gratuito – A retirada de ingressos acontece meia hora antes de cada sessão. Sujeito a lotação. Onde:MIS Cine…

View On WordPress

[tungph]

Demo Reel Folimage 2018 from Folimage on Vimeo.

Un regard sur quelques films produits fièrement par le studio Folimage depuis plus de 35 ans : courts métrages, longs métrages, séries et spéciaux TV… et un florilège de techniques d’animation ! > Let’s have a look to some films proudly produced by Folimage studio since more than 35 years : short films, feature films, TV series and specials… and so many animation technics !

Plus de 500 artistes, plus de 500 récompenses internationales ! > More than 500 artists, more than 500 international awards !

Bravo aux auteurs, équipes artistiques et techniques, et un grand merci à nos partenaires. > Congratulations to all authors, artistic and technical teams, and huge thanks to our partners.

Musique (Music) : Serge Besset (Une vie de chat / A Cat in Paris - © 2010 Folimage / Lunanime / Lumière / Digit Anima / France 3 Cinéma Rhône-Alpes Cinéma / Agora / RTBF) Direction artistique / Montage (Artistic Direction / Editing) : Izù Troin © Folimage

EXTRAITS (EXTRACTS) :

La Prophétie des grenouilles (Jacques-Rémy Girerd) – © 2003 Folimage / StudioCanal / France 2 Cinéma / Rhône-Alpes Cinéma Une vie de chat (Alain Gagnol, Jean-Loup Felicioli) – © 2010 Folimage / Lunanime / Lumière / Digit Anima / France 3 Cinéma Rhône-Alpes Cinéma / Agora / RTBF Mia et le Migou (Jacques-Rémy Girerd) – © 2008 Folimage / Enanimation / Gertie / France 3 Cinéma / Rhône-Alpes Cinéma / Sayers Studios / Bayard Presse Tante Hilda ! (Jacques-Rémy Girerd, Benoît Chieux) – © 2013 Folimage / Mélusine Production / France 3 Cinéma / Rhône-Alpes Cinéma / SND Phantom Boy (Alain Gagnol, Jean-Loup Felicioli) - © 2015 Folimage / Lunanime / France 3 Cinéma / Rhône-Alpes-Cinéma L’Automne de Pougne (Antoine Lanciaux, Pierre-Luc Granjon) - © 2012 Folimage / Foliascope / Piwi+ / CarpeDiem Film & TV (Pougne) Inc. / Office national du film du Canada / National Film Board of Canada Le Bûcheron des mots (Izù Troin) - © 2009 Folimage La Petite Pousse (Chaïtane Conversat) - © 2015 Folimage / JMH / 10200 Z’images Le Printemps de Mélie (Pierre-Luc Granjon) - © 2009 Folimage / Piwi+ / Divertissement Subséquence (Pougne) Inc. / Office national du film du Canada / National Film Board of Canada Le Renard minuscule (Aline Quertain, Sylwia Szkiladz) - © 2015 Folimage / Nadasdy Film / La Boîte,… Productions Silhouettes (Benoît Chieux) - © 2015 Folimage Les Pieds sur terre (François Lignier) - © 2015 Folimage Vanille (Guillaume Lorin) - © 2018 Folimage / Nadasdy Film Drôle de poisson (Krishna Chandran A. Nair) - © 2017 Folimage / Nadasdy Film La Grande Migration (Iouri Tcherenkov) - © 1995 Folimage Le Moine et le poisson (Michael Dudok de Wit) - © 1994 Folimage Le Petit Bonhomme de poche (Ana Chubinidze) - © 2016 Folimage / Nadasdy Film / Kvali XXI Michel (Dewi Noiry, Pauline Pinson, Ivan Rabbiosi) - © 2012 Folimage / Foliascope / Fabrique d’Images / ZDFE / Bayard Jeunesse Animation / Tanukis Neige / Snow (Antoine Lanciaux, Sophie Roze) - © 2014 Folimage / Nadasdy Film / Bayard Jeunesse Animation Le Vélo de l’éléphant (Olesya Shchukina) - © 2014 Folimage / La Boîte,… Productions Beach Flags (Sarah Saidan) - © 2014 Sacrebleu Productions / Folimage Tu mourras moins bête (Amandine Fredon) - © 2017 Folimage – Ex Nihilo – Arte France One, Two, Tree (Yulia Aronova) - © 2014 Folimage / Nadasdy film L’Enfant au grelot (Jacques-Rémy Girerd) - © 1997 Folimage / France 3 / ZDF Le Sens du toucher (Jean-Charles Mbotti Malolo) - © 2014 Folimage / La Fabrique Production / Nadasdy Film Le Chat qui pleure (Alain Gagnol, Jean-Loup Felicioli) - © 2018 Folimage / Lunanime La 4e Planète (Jean Bouthors) – © 2015 Folimage Féroce (Izù Troin) - ©2017 Folimage / Caravel Production / Popiul Le Trop Petit Prince (Zoïa Trofimova) - © 2001 Folimage Histoire Tragique avec fin heureuse (Regina Pessoa) - © 2005 Ciclope / Folimage / ONF-NFB / Arte France Patate et le jardin potager (Benoît Chieux, Damien Louche-Pélissier) - © 2000 Folimage / France 3 / TPS Jeunesse – Teletoon / SWR / WDR Ariol (Hélène Friren) - © 2017 Folimage Au bout du monde (Konstantin Bronzit) © 1998 Folimage Bisclavret (Emilie Mercier) © 2010 Folimage / Les Films du Nord Les Cahiers d’Esther, Histoires de mes 10 ans (Riad Sattouf, Mathias Varin) © 2018 Folimage / Les Films du Futur / Les Compagnons du Cinéma / Canal+ L’Ondée (David Coquard-Dassault) © 2008 Folimage / Office national du film du Canada /National Film Board of Canada Paroles en l’air (Sylvain Vincendeau) © 1995 Folimage Le Banquet de la concubine (Hefang Wei) © 2012 Folimage / Foliascope / Office national du film du Canada / National Film Board of Canada Mauvais temps (Alain Gagnol, Jean-Loup Felicioli) © 2006 Folimage / Arte France Le Chat d’appartement (Sarah Roper) © 1998 Folimage Petite Escapade (Pierre-Luc Granjon) © 2001 Folimage Mamie (Janice Nadeau) © 2016 Folimage / Office national du film du Canada La Bouche cousue (Jean-Luc Gréco, Catherine Buffat) © 1998 Folimage

[onlinevideoproduction]

Neige et les arbres magiques (2015)

The IFE presents: Ciné-Goûter, a cosy child and parent cinema screening with a snack and a drink.

On the eve of school holidays, Prune leaves his parents for the traditional "end of year school outing", but an incredible snowstorm is falling on the city... A magnificent winter tale preceded by three charming shorter films with a nature theme where trees come alive!

Presented by our librarian Catherine Giaut.

Directed by Antoine Lanciaux Sophie Roze Benoît Chieux

FRI 8 DEC | 2.30PM IN FRENCH, English subs Running time: 52mins approx. Members only | FREE Advanced booking recommended at 0131 225 53 66 or info ifecosse.org.uk

from Institut Français Écosse http://www.ifecosse.org.uk/Neige-et-les-arbres-magiques-2015.html via IFTTT

#showreel media #media production company #business media specialists #media specialists company

[gebo4482]

Sirocco and the Kingdom of the Winds

Exclusive Trailer

#sirocco #sirocco and the kingdom of the winds #sirocco et le royaume des courants d'air #benoît chieux #sacrebleu productions #animation #fantasy movies #artwork

[funtubeweb]

Charles | Interview with filmmaker Dominic Étienne Simard

It took over four years to complete Charles, an animated short that Dominic Étienne Simard is about to launch this year. Like Paula, released by Simard in 2011, this drama uses traditional animation to depict a child who grows up too fast. But the creative process for making Charles also entailed a number of things that were new to the filmmaker. Simard tells us what it was like working on his first Canada/France co-production and creating his first film in collaboration with other animators. He also explains the peculiarities inherent to Charles and the trilogy to which the film belongs.

Producing Charles spanned several years. Can you tell us how the project came about?

The film was developed from a script I wrote for the SODEC Cours écrire ton court competition. In 2012, it was devoted to animation and I won the prize. That was already good news for funding. Then, I had Julie Roy at the NFB read the script. Together, we decided to do a co-production with France.

How did you go about setting up this kind of international co-production?

We initially approached a French producer directly, but it didn’t work out very well. I was willing to make changes to the story, but after two meetings on Skype, I knew we didn’t have the same vision. So we decided to approach another producer: Dora, at Les Films d’Arlequin. This time, it clicked right away. Then we contacted the CNC for funding and Ciclic, which provides arts residencies.

In Canada, I submitted the project to the Quebec Council for Arts and Letters and SODEC, and it was accepted at both places. It was kind of like a funding grand slam! Then ARTE got on board. The funding process was long – about two years, from the first application – but it turned out great. We contacted a lot of institutions, but the process was easy and positive.

So Charles was created on two continents. How did your arts residency in France go?

I spent several months at Château-Renault, a tiny village in the Loire Valley. That’s where production began. It was strange and very disorienting because there’s really nothing there. It forces you to focus on the project, but it wasn’t easy to fill up your free time. I worked with the French animator Benoît Chieux, but everything was done remotely because he was in Valence, 500 km away from where I was. I sent him files with drawings and poses… I explained the animation shot by shot, the intention for each one, with the sets and all.

Spanish moss-draped cypress trees in Louisiana’s bayou country.

Is it hard to work with an animator when you’re used to working alone?

Yes, but the collaboration went really great. I even worked with several animators: Benoît in France and, later, Jérémy in Belgium, Jens and his assistant François in Canada. I was nervous at first. We had to adapt. But Benoît has a lot of experience and he was willing to adapt to my way of working, which isn’t very orthodox. His sensitivity was the closest to what I was looking for. Animators are a bit like actors, if you know what I mean. Choosing the right animator is like casting for a movie. They all have their strengths and weaknesses. We had them take a test and Benoît was really the ideal candidate. I could sense the project was in good hands.

How is your work method different?

I don’t do a storyboard and all that. I just start with the script and I never know what the next shot will be before I begin. It’s scary for producers! (laughter) It takes a solid base of trust. But that’s what I’ve always done and the results speak for themselves. For me, doing a storyboard would be like mapping out what I won’t do. In animation, you have time to see things coming. You work for weeks on a shot, so you can already be thinking about the next one. Everything moves into place, even when it’s not really because of a conscious effort. I let the idea emerge.

How does Charles compare with other animated shorts you’ve created?

It’s a variation on the same theme as Paula – the child prematurely propelled into adulthood -, but the treatment is different. In Paula, what’s hard hitting is the assault. The entire film leads up to it. At the animation level, there are strong brush strokes, coarse textures. In Charles, it’s more insidious. It’s a progressive descent. Charles is an overweight child who gradually becomes an adult because his mother retreats from handling family responsibilities. Everything’s slower: the staging, Charles’ movement, the animation. Everything’s more delicate, even the shading.

In the beginning, I knew I wanted the animation to be less rough than for Paula, but I was still thinking of something fairly energetic. Except that I had to adapt the animation so that it fit in better with the staging I wanted. The shots are relatively long: most of the time in an animated film, the shots are 3-4 seconds long, but in Charles, they last on average around twenty seconds.

Creating Paula was really hard for me because it put me in a particular state of mind. I really enjoyed making the film, but I also had a lot of trouble finishing it. The violence in it is something I wasn’t always comfortable with. It hurt. With Charles, the process was less painful.

How did the work continue once you got back to Montreal after the residency?

When I got back, I had a lot of integration work to do. After that, I started working with the animators in Canada for a little over six months. I worked on the sets: they’re montages of snippets of photos I took here and there… but if I hadn’t told you, you wouldn’t have known! There’s a lot of grain, texture. Everything is pretty simplified, “desaturated” to remove information. And the rest – what moves on those photos – is traditional animation. Then, there’s the sound: it’s quite a job!

Who did you work with for the film’s sound?

Oliver Calvert for the sound and Ramachandra Borcar for the music. He’s the one who did the music for Paula and we worked the same way: I gave him some stuff I listened to while animating and he took it from there to find the right emotion. There was a lot of Daniel Lanois, and things like that. His work is really strong, and all the sound editing, too. I have a lot of respect for that: it’s not easy to find the right atmosphere, the right mix to express my intentions and bring out the story in the best way possible. You don’t want to overdo it. I’m really happy with the result! And it’s weird, because it took years for the visual work, while all of the sound was finished in roughly two months. It’s disproportionate, when you think about it.

Now that Charles is finished, do you know yet what your next film will be?

As a director, I enjoy never doing the same thing again, and playing with the film language, both from a visual and sound perspective. I like making variations, coming up with completely different ideas. I need to change the parameters. I haven’t written the next one, but the approach will be different for sure. I might move to dialogue, for instance, since there isn’t any in my other films.

I have an idea, but I haven’t found the triggering element. I want to do a trilogy, three ten-minute films, like another variation on the theme of the child who moves too quickly toward adulthood. I’d like the character to be a girl this time, even though I haven’t decided how old she’d be yet, and for it to be told from the parents’ point of view.

So your animated films start with a story and not the visuals?

Animators often begin by drawing and then start to learn how to make films. I came to drawing by accident, when I was in my early twenties. I learned how to draw so that I could do animation. I wasn’t supposed to do it, but I thought it was a form of creation that better suited my personality than live-action shooting did. I start with a script and develop the visuals to go with the story. Writing comes first. Next comes very traditional animation. It’s a really long process: I do a drawing and then I do another one…It’s a daily routine. Animation takes perseverance. It can’t be said enough, but that’s especially where the difficulty lies.

The post Charles | Interview with filmmaker Dominic Étienne Simard appeared first on NFB/blog.

Charles | Interview with filmmaker Dominic Étienne Simard posted first on http://ift.tt/2sCUYNt

[deadlinecom]

[gowiththeblog]

Concours : des invitations pour le film NEIGE ET LES ARBRES MAGIQUES à gagner

À l’occasion de la sortie en salles le mercredi 25 novembre 2015 du film NEIGE ET LES ARBRES MAGIQUES dont nous vous avions parlé dans notre article sur le cinéma d'animation jeune public, Go with the Blog est très heureux de vous faire gagner des invitations pour le film & un numéro du magazine "Les Belles Histoires" !   Lire la suite : http://gowith-theblog.com/concours-neige-et-les-arbres-magiques/

#Antoine Lanciaux #Benoît Chieux #concours ARBRES MAGIQUES #concours cinéma #concours cinéma jeune public #concours film animation enfants #concours invitations cinéma #concours Les Belles Histoires #Concours NEIGE ET LES ARBRES MAGIQUES #film d'animation #film jeune public #Folimage #invitations à gagner #Les Belles Histoires magazine #NEIGE ET LES ARBRES MAGIQUES #places à gagner #places de cinéma à gagner #Sophie Roze #Concours