Pictures of Norshteyn at Work
you_iggy asked about Yuriy Norshteyn's technique at norshtein, so I figured I'd make a quick post to answer. Here are some pictures of Norshteyn at work on "The Overcoat" in his studio:
Characters for future scene - "the arrival of the clerks"
Frame from film.
As you can see, there are no strings holding the flat parts together. This was something that Norshteyn invented (or re-invented) while working on "Lefty" (1964); he cut the strings holding the flat puppets together. Not everyone was pleased.
Many different body parts.
Many glass panels. Each glass panel can slide over to the left, so that the one under it can be modified. Different body parts of the same character can be on different glass panels; for example, in the second shot, Norshteyn is animating Akaky Akakievich's galoshes. His overcoat and left foot is on a higher panel than the "distant" side of the overcoat and the right foot. The panels can also be moved up and down a little, and can be moved in and out of the camera's focus.
Akaky Akakievich's face, divided into many small parts. It has "cheeks", too, which can be moved down when he lowers his head.
Sketches.
Hands, Hands/eyes...
Drawer marked "Akaky Akakievich's eyes".
Norshteyn's sketches
Norshteyn working on a scene. I'm not exactly sure what's going on here, actually.
All of these except for the last one come from the four "Weightless Life" documentaries. I've only translated the 1st one so far.
Here are some pictures of the work on Norshteyn's segment for the Japanese collaborative film "Winter Days" (2003):
(by the way, Norshteyn talks about the creation of his segment in this interview)
Sketches of Basho.
Norshteyn's workplace for "Winter Days". I have no idea about the location.
His wife Francheska Yarbusova working on a character, and using her fingers to blur the colours.
Sketches of Chikusai.
Body pieces.
Several layers of glass have just dirt on them, to better portray the storm.
Cross-posted with The Animatsiya Community
Characters for future scene - "the arrival of the clerks"
Frame from film.
As you can see, there are no strings holding the flat parts together. This was something that Norshteyn invented (or re-invented) while working on "Lefty" (1964); he cut the strings holding the flat puppets together. Not everyone was pleased.
Many different body parts.
Many glass panels. Each glass panel can slide over to the left, so that the one under it can be modified. Different body parts of the same character can be on different glass panels; for example, in the second shot, Norshteyn is animating Akaky Akakievich's galoshes. His overcoat and left foot is on a higher panel than the "distant" side of the overcoat and the right foot. The panels can also be moved up and down a little, and can be moved in and out of the camera's focus.
Akaky Akakievich's face, divided into many small parts. It has "cheeks", too, which can be moved down when he lowers his head.
Sketches.
Hands, Hands/eyes...
Drawer marked "Akaky Akakievich's eyes".
Norshteyn's sketches
Norshteyn working on a scene. I'm not exactly sure what's going on here, actually.
All of these except for the last one come from the four "Weightless Life" documentaries. I've only translated the 1st one so far.
Here are some pictures of the work on Norshteyn's segment for the Japanese collaborative film "Winter Days" (2003):
(by the way, Norshteyn talks about the creation of his segment in this interview)
Sketches of Basho.
Norshteyn's workplace for "Winter Days". I have no idea about the location.
His wife Francheska Yarbusova working on a character, and using her fingers to blur the colours.
Sketches of Chikusai.
Body pieces.
Several layers of glass have just dirt on them, to better portray the storm.
Cross-posted with The Animatsiya Community