ART, ANIMATION AND THE CREATIVE CULTURE

And Their Eyes Were Watching….Madame Tutli-Putli!

If the eyes are the windows to the soul, then Madame Tutli-Putli is a breath of fresh air. Animating art – bringing life and soul to drawings and puppets, is the challenge of animators that, when accomplished, creates an air of magic, a sparkle of mystery. The creators of Madame Tutli-Putli added a new perspective to this task – in addition to creating beautiful silicone puppets and sets, the team of artists brought substance to the set by tracking human eyes on the faces of the stop motion puppet. The team didn’t use any CGI, but created traditional silicone and wire puppets about 15” tall and then used After Effects to seamlessly match and meld the human eyes to the face of the puppets, creating a grippingly ethereal visual effect.

Inspired by a shared vision and a painting, Madame Tutli-Putli is the story of a woman weighed-down by baggage, both literal and figurative, who boards the night train to interact with characters both real and imagined. Traveling alone, she cohorts with kindness and cruelty as she confronts her inner demons in an undertow of mystery and suspense accentuated by a haunting and mysterious musical score.

Directed by Clyde Henry Productions and produced by three-time Academy Award winner Marcy Page of the National Film Board of Canada, Madame Tutli-Putli was written, directed, edited, sculpted, and managed by Chris Lavis, and Maciek Szczerbowski. Utilizing his skills as a portrait painter, Jason Walker provides profound patience and precision, managing the special effects to merge the eyes and the puppet together into the soulful and surreal creature, Madame Tutli-Putli. Laurie Maher designed costumes and choreographed with astonishing attention to detail and subtleties. The team, in fact, spent 2 years of 14-15 hour workdays, 7 days a week, locked in a dark room to create the magic of Madame Tutli Putli.

Was it worth it? Along with its Academy Award nomination, Cannes awarded the film Best Short Film of the year, while it also garnered Best Narrative Short Animation at the International Animation Festival in Ottawa, Best Animation at the Worldwide Short Film Festival in Toronto, Best Animation at the New York Film Festival, Best Short Film in Montreal, Best Animation in Palm Springs – and the list goes on.

Looking for more? Scope out the goods at NFB.com. Another excellent review and a closer look at the technical side is available at fxguide.com, while SxSW offers an excellent synopsis of the story line. Catch a glimpse of their comic strip with its cult following; Untold Tales of Yuri Gagarin, a serial comic strip published in Vice Magazine.

This entry was posted on Monday, March 24th, 2008 at 12:58 pm and is filed under Toon Talk. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.

3 Responses to “And Their Eyes Were Watching….Madame Tutli-Putli!”

  1. David Donar Says:

    While I agree that Madame Tutli-Putli was a wonderful short film, I have some reservations about calling it a full fledge animated film. If the eyes are the window to the soul, why is such an important element taken away from the animator? Pixar films are so captivating because the of the character’s eyes are carefully animated–not motion captured or composited with live action. Aardman’s Gromit expresses everything with his eyes and it’s through the mastery of the animators that make him one of the most enduring and empathetic character on the screen.

    Madame Tutli-Putli had some great moments and animation, but I did find the eyes a bit distracting and out of place within the style and design of the film as a whole. I commend the film makers on the success and exposure of this film, but I believe the eyes should stay within the realm of an animator and leave the effects, rotoscoping, and motion capture to lesser details.

  2. Jessica Says:

    Well put David. Aardman’s characters can be truly heart-wrenching in their emotive expressions - his “Creature Comforts” series (particularly the one about the zoo) really get me, though I have to admit, I am somehow fascinated by the images and the feel of MTP.

  3. Jason Walker Says:

    The eyes were captured as video so I would have many hundreds of frames to choose from.
    The eyes are NOT inserted into the animation as live action.
    90% of the frames were discarded, and the remaining frames were chosen carefully so they can be animated in a traditional way one frame at a time.
    This animation technique then gives the freedom to create a range of emotions (beyond what the camera has captured) on the puppets face by pulling from many, many, still frames just like Aardman characters.
    Believe me, I wish it was as easy as just tracking video takes onto the puppet, however this does not even begin to work. How would you match the light passes for example? The angle changes? Shadows?
    David, you simply do not understand what has been done.
    The eyes are absolutely animated in just the same way as stop-motion, Disney, and Pixar. Any introduction of real eyes to stop-motion for the first time will undoubtedly seem distracting to some…… that’s fine too!
    But to be clear……Madame Tutli Putli’s eyes are animated stills!

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