Animation Guild | We are 839 Digital Magazine
Issue link: https://digital.copcomm.com/i/1434261
WINTER 2021 37 cre to coe up ith ho to il the son y n Dru' It was super fun." Despite all of the efforts to achieve authenticity—from precise body movements to carefully crafted camera angles—reality is not the goal. Instead, the hoped-for result is the perception of reality as it relates to the character, according to dos Anjos. When he was watching choreographers interpret a song, he says it was tempting to just copy and paste, "but the magic of animation is picking and choosing everyone's best elements and infusing it into the scene for the story and characters." "What an animator does is take liberties," says Vivo's Jeffords, while Encanto's Lehtomaki adds, "we're always going for believ- able over realistic." Easier said than done? Definitely. As dos Anjos notes, dance in animation always involves more than just specific moves. It also has to incorporate everything from the rhythm on the music track to the character's acting in the scene. Because of this, he says, "it's one of the most challenging things an animator can do." "…the magic of animation is picking and choosing everyone's best elements and infusing it into the scene for the story and characters." —Renato dos Anjos š›œž Ÿ¡¢£, ¤¥¦§ š¦Ÿ: In Encanto, the Madrigal's magical house had a life of its own. It was not enchanted, though, says Lehtomaki. Rather, "anything that was physically attached to the walls or floors of the house, the house could move like limbs. But if there was a chair sitting on the dining room floor, the chair couldn't move on its own. The house would have to move the tiles underneath to move the chair." ¦ŸŸ¦žœš£: Like all of the characters in Encanto, Mirabel's personality is reflected in the way she dances.