Ph.D. in Cinema by EBA-UFMG Fine Arts School at the Federal University of Minas Gerais with research about internal mechanisms for facial stop-motion animation. M.Sc. in Design at ED-UEMG - State University of Minas Gerais with the research: Design of Characters for Stop-Motion: Design and Development of Armatures with Composite Metal Joints. Post-doctoral resident at EBA-UFMG in sculpture, with research about M4 - Micro Meso Mechanical Manufacturing (2020-2022). Introduced teaching, research and extension in audiovisual design at ED-UEMG, acting for 16 years at the institution. Experienced in professional practice and consulting in audiovisual design, working mainly in the following fields: motion graphics design, stop-motion production design and sound design. Has won national and international awards, such as the silver trophy at HKIMFA - Hong Kong International Mobile Film Awards 2013, selection in Anima Mundi Gallery category 2014, 10th Brazilian Design Biennial - 2013 and bid_14 - 4th Ibero-American Biennial of Design - Madrid - 2014-2015. Assistant lecturer at Cinema and Animation Technological course at UEMG - Cataguases/Carangola (2023). Supervisors: Mauricio Silva Gino (doctoral research)., Jairo José Drummond Câmara (Master degree research)., and Fabricio Fernandino (post-doctoral research).
Debido a la importancia de la cultura audiovisual en la formación de la identidad de un territori... more Debido a la importancia de la cultura audiovisual en la formación de la identidad de un territorio, su manifestación como industria precisa de un enfoque a la altura de su posición estratégica. Para ello, se aplica aquí la metodología del análisis de valor para la identificación de oportunidades en el desarrollo de productos culturalmente sustentables, abordando el diseño en la modalidad animación por stop-motion
Stop-motion is a technique as old as cinema itself, and objectual nature, while the other animati... more Stop-motion is a technique as old as cinema itself, and objectual nature, while the other animation techniques are purely imagetical. Always dependent history of this hybridization of knowledge is presented here under the concept of spatiotemporal resolvability. It is a proposal of parametrization of analysis of the techniques and respective technologies in its capacity to modulate the formal dynamism of the structures and materials for the frame-by-frame animation. The neologism presented here concerns both the original meaning of the term and the ability of a process to resolve demands satisfactorily, but it also approaches the meaning of the term resolution-borrowed from of the realization of space along the time. in the sense that the technique refers to its artistic purpose, using technologies and materials that in the case of stop-motion were not designed for this art form. However, this constant and historical lack of seems to constitute the technical inventiveness that characterizes it. The spatiotemporal resolvability characterizes how these adaptations have been given up to the present, and beckons us to be living a privileged moment for the puppet animation due to the conditions that converged on it.
PARE OLHE, ESCUTE - LEVE LABORATÓRIO DE ESTUDOS E VIVÊNCIAS DA ESPACIALIDADE, 2016
Essa reflexão decorre de uma experiência cotidiana tornada ação no momento em que se converte tra... more Essa reflexão decorre de uma experiência cotidiana tornada ação no momento em que se converte trajeto em destino, meio em fim. O que faz o olhar se converter em pensamento, que projeta uma fabulação em um determinado espaço, é primeiramente seu apelo sensorial, morfológico. Este lugar inusitado é um campo de futebol incrustado em uma encosta da colina, que divide os bairros: Colégio Batista, Concórdia e Lagoinha, em um quarteirão entre as ruas Pitangui, Rio Novo, Itabira e Formiga. Trata-se de um corte plano, cercado por um paredão de pedra em forma de J.
IV SEMINÁRIO DE PESQUISA EM ARTES, CULTURA E LINGUAGENS Programa de Pós-Graduação em Artes, Cultura e Linguagens Universidade Federal de Juiz de Fora (UFJF), 2017
Resumo: Discute-se aqui a função desempenhada pelo design de produção – instância sistêmica e con... more Resumo: Discute-se aqui a função desempenhada pelo design de produção – instância sistêmica e conceitual do departamento de arte em obras audiovisuais – com ênfase na produção cinematográfica. Configurando-se como a competência de planejamento dos aspectos visuais de uma obra audiovisual, contemplando de forma integrada a concepção dos personagens, figurinos, objetos de cena, veículos, cenários, etc., é natural que o design de produção atue nas fases de pré-produção, produção e pós produção, uma vez que aborda fatores pertinentes a áreas como roteiro, fotografia, montagem, finalização e efeitos visuais. Após uma abordagem histórica, passa-se à análise de alguns exemplos destacados da arte cinematográficas prodigiosos no quesito em questão. E, finalmente, realiza-se a defesa de uma proposta para que a área de estudos relativos ao design de produção seja considerada no contexto dos cursos de design no Brasil, não apenas como objeto de estudo, mas também enquanto estratégia de desenvolvimento para virtualmente qualquer área relativa ao design, uma vez que o audiovisual, em sua atual ubiquidade, seja vetor de utilização, e consequentemente de divulgação, para projetos das mais variadas vertentes.
Debido a la importancia de la cultura audiovisual en la formación de la identidad de un territori... more Debido a la importancia de la cultura audiovisual en la formación de la identidad de un territorio, su manifestación como industria precisa de un enfoque a la altura de su posición estratégica. Para ello, se aplica aquí la metodología del análisis de valor para la identificación de oportunidades en el desarrollo de productos culturalmente sustentables, abordando el diseño en la modalidad animación por stop-motion.
The stop-motion armatures in contemporary times have apparently new and specific solutions to dem... more The stop-motion armatures in contemporary times have apparently new and specific solutions to demands of the characters that they allow animate efficiently, but we can trace its heritage to an historically specific project: a 1:8 scaled version of the starring Gorilla from Mighty Joe Young, 1949, designed by Ray Harryhausen under the supervision of Wilis O'Brien and manufactured by Harry Cunningham between 1947 and 1949 who earned the nickname " Jennifer " by Harryhausen, one of their animators together with Pete Peterson. Skeletons of stop-motion for feature films are internal structures to the figures of characters who often have compound metal joints-articulations with more than one mechanic component to provide controllable friction by pressure adjustment. The compound metallic joints allow both accurate angular variation (drive function, muscular system) and adequate support of the structure and coverage (structural function, skeletal system). New characters require new solutions but do not derive as much of anthropomorphic aspect invariably referring to developments present in Jennifer. The variation in body elements is that they have brought a solution or another in articulation strategy, where equating three features: support capability, the positional variability, and volume of all parts of the joint. It is the influence of the culture of illustration in stop-motion starting from Tim Burton and Henry Selick who radicalize the formal variations of the characters, making them mechanical challenges that Jennifer paradigms still manage to answer. In extreme cases happens the use of external support mechanisms, now easier to hide by digital imagery manipulation. Published in AVANCA | CINEMA 2015. http://www.avanca.org/
Avanca Cinema | International Conference 2018, 2018
Today facial animation reaches a broad spectrum: from visual to physical, in visual effects (VFX)... more Today facial animation reaches a broad spectrum: from visual to physical, in visual effects (VFX), games, animatronics, robotics, machine vision and forensic science. Whatever the field of study and application, the main concern about the face remains the emotional response of moviegoers, video game players or people in the presence of automats, animatronics, and androids. In isolation, each field has given its steps, but the longest and most successful experience in achieving sympathy is undoubtedly the synthetic language of cartoon animation also present in puppet animation. Although cartoon animation is also synonymous with two-dimensional animation as a technique, since Fleischer and Disney it is aesthetically perspectivist, anticipating in decades the visual paradigm of computer graphics and always having parallels in the stop-motion of puppets. This common language of the three techniques offers contributions towards the emotional response problems faced by robotics and entertainment with animatronics. Even more so when facial animation in stop-motion uses internal mechanisms, converging art, entertainment, and science. To this interface are added the knowledge about Human Facial Gestures studied in face recognition (machine vision) and in forensic science in its analysis of testimonies. The design of internal mechanisms for facial animation in stop-motion takes advantage of animatronics and robotics studies, can have its operation simulated in computer graphics, and apply the possibilities that come from cartoon animation, and payback to all the fields involved. Published in AVANCA | CINEMA 2018. http://www.avanca.org/
Debido a la importancia de la cultura audiovisual en la formación de la identidad de un territori... more Debido a la importancia de la cultura audiovisual en la formación de la identidad de un territorio, su manifestación como industria precisa de un enfoque a la altura de su posición estratégica. Para ello, se aplica aquí la metodología del análisis de valor para la identificación de oportunidades en el desarrollo de productos culturalmente sustentables, abordando el diseño en la modalidad animación por stop-motion
Stop-motion is a technique as old as cinema itself, and objectual nature, while the other animati... more Stop-motion is a technique as old as cinema itself, and objectual nature, while the other animation techniques are purely imagetical. Always dependent history of this hybridization of knowledge is presented here under the concept of spatiotemporal resolvability. It is a proposal of parametrization of analysis of the techniques and respective technologies in its capacity to modulate the formal dynamism of the structures and materials for the frame-by-frame animation. The neologism presented here concerns both the original meaning of the term and the ability of a process to resolve demands satisfactorily, but it also approaches the meaning of the term resolution-borrowed from of the realization of space along the time. in the sense that the technique refers to its artistic purpose, using technologies and materials that in the case of stop-motion were not designed for this art form. However, this constant and historical lack of seems to constitute the technical inventiveness that characterizes it. The spatiotemporal resolvability characterizes how these adaptations have been given up to the present, and beckons us to be living a privileged moment for the puppet animation due to the conditions that converged on it.
PARE OLHE, ESCUTE - LEVE LABORATÓRIO DE ESTUDOS E VIVÊNCIAS DA ESPACIALIDADE, 2016
Essa reflexão decorre de uma experiência cotidiana tornada ação no momento em que se converte tra... more Essa reflexão decorre de uma experiência cotidiana tornada ação no momento em que se converte trajeto em destino, meio em fim. O que faz o olhar se converter em pensamento, que projeta uma fabulação em um determinado espaço, é primeiramente seu apelo sensorial, morfológico. Este lugar inusitado é um campo de futebol incrustado em uma encosta da colina, que divide os bairros: Colégio Batista, Concórdia e Lagoinha, em um quarteirão entre as ruas Pitangui, Rio Novo, Itabira e Formiga. Trata-se de um corte plano, cercado por um paredão de pedra em forma de J.
IV SEMINÁRIO DE PESQUISA EM ARTES, CULTURA E LINGUAGENS Programa de Pós-Graduação em Artes, Cultura e Linguagens Universidade Federal de Juiz de Fora (UFJF), 2017
Resumo: Discute-se aqui a função desempenhada pelo design de produção – instância sistêmica e con... more Resumo: Discute-se aqui a função desempenhada pelo design de produção – instância sistêmica e conceitual do departamento de arte em obras audiovisuais – com ênfase na produção cinematográfica. Configurando-se como a competência de planejamento dos aspectos visuais de uma obra audiovisual, contemplando de forma integrada a concepção dos personagens, figurinos, objetos de cena, veículos, cenários, etc., é natural que o design de produção atue nas fases de pré-produção, produção e pós produção, uma vez que aborda fatores pertinentes a áreas como roteiro, fotografia, montagem, finalização e efeitos visuais. Após uma abordagem histórica, passa-se à análise de alguns exemplos destacados da arte cinematográficas prodigiosos no quesito em questão. E, finalmente, realiza-se a defesa de uma proposta para que a área de estudos relativos ao design de produção seja considerada no contexto dos cursos de design no Brasil, não apenas como objeto de estudo, mas também enquanto estratégia de desenvolvimento para virtualmente qualquer área relativa ao design, uma vez que o audiovisual, em sua atual ubiquidade, seja vetor de utilização, e consequentemente de divulgação, para projetos das mais variadas vertentes.
Debido a la importancia de la cultura audiovisual en la formación de la identidad de un territori... more Debido a la importancia de la cultura audiovisual en la formación de la identidad de un territorio, su manifestación como industria precisa de un enfoque a la altura de su posición estratégica. Para ello, se aplica aquí la metodología del análisis de valor para la identificación de oportunidades en el desarrollo de productos culturalmente sustentables, abordando el diseño en la modalidad animación por stop-motion.
The stop-motion armatures in contemporary times have apparently new and specific solutions to dem... more The stop-motion armatures in contemporary times have apparently new and specific solutions to demands of the characters that they allow animate efficiently, but we can trace its heritage to an historically specific project: a 1:8 scaled version of the starring Gorilla from Mighty Joe Young, 1949, designed by Ray Harryhausen under the supervision of Wilis O'Brien and manufactured by Harry Cunningham between 1947 and 1949 who earned the nickname " Jennifer " by Harryhausen, one of their animators together with Pete Peterson. Skeletons of stop-motion for feature films are internal structures to the figures of characters who often have compound metal joints-articulations with more than one mechanic component to provide controllable friction by pressure adjustment. The compound metallic joints allow both accurate angular variation (drive function, muscular system) and adequate support of the structure and coverage (structural function, skeletal system). New characters require new solutions but do not derive as much of anthropomorphic aspect invariably referring to developments present in Jennifer. The variation in body elements is that they have brought a solution or another in articulation strategy, where equating three features: support capability, the positional variability, and volume of all parts of the joint. It is the influence of the culture of illustration in stop-motion starting from Tim Burton and Henry Selick who radicalize the formal variations of the characters, making them mechanical challenges that Jennifer paradigms still manage to answer. In extreme cases happens the use of external support mechanisms, now easier to hide by digital imagery manipulation. Published in AVANCA | CINEMA 2015. http://www.avanca.org/
Avanca Cinema | International Conference 2018, 2018
Today facial animation reaches a broad spectrum: from visual to physical, in visual effects (VFX)... more Today facial animation reaches a broad spectrum: from visual to physical, in visual effects (VFX), games, animatronics, robotics, machine vision and forensic science. Whatever the field of study and application, the main concern about the face remains the emotional response of moviegoers, video game players or people in the presence of automats, animatronics, and androids. In isolation, each field has given its steps, but the longest and most successful experience in achieving sympathy is undoubtedly the synthetic language of cartoon animation also present in puppet animation. Although cartoon animation is also synonymous with two-dimensional animation as a technique, since Fleischer and Disney it is aesthetically perspectivist, anticipating in decades the visual paradigm of computer graphics and always having parallels in the stop-motion of puppets. This common language of the three techniques offers contributions towards the emotional response problems faced by robotics and entertainment with animatronics. Even more so when facial animation in stop-motion uses internal mechanisms, converging art, entertainment, and science. To this interface are added the knowledge about Human Facial Gestures studied in face recognition (machine vision) and in forensic science in its analysis of testimonies. The design of internal mechanisms for facial animation in stop-motion takes advantage of animatronics and robotics studies, can have its operation simulated in computer graphics, and apply the possibilities that come from cartoon animation, and payback to all the fields involved. Published in AVANCA | CINEMA 2018. http://www.avanca.org/
Uploads
Papers by Leonardo R Dutra
Este lugar inusitado é um campo de futebol incrustado em uma encosta da colina, que divide os bairros: Colégio Batista, Concórdia e Lagoinha, em um quarteirão entre as ruas Pitangui, Rio Novo, Itabira e Formiga. Trata-se de um corte plano, cercado por um paredão de pedra em forma de J.
como industria precisa de un enfoque a la altura de su posición estratégica. Para ello, se aplica aquí la metodología
del análisis de valor para la identificación de oportunidades en el desarrollo de productos culturalmente sustentables,
abordando el diseño en la modalidad animación por stop-motion.
Whatever the field of study and application, the main concern about the face remains the emotional response of moviegoers, video game players or people in the presence of automats, animatronics, and androids.
In isolation, each field has given its steps, but the longest and most successful experience in achieving sympathy is undoubtedly the synthetic language of cartoon animation also present in puppet animation.
Although cartoon animation is also synonymous with two-dimensional animation as a technique, since Fleischer and Disney it is aesthetically perspectivist, anticipating in decades the visual paradigm of computer graphics and always having parallels in the stop-motion of puppets.
This common language of the three techniques offers contributions towards the emotional response problems faced by robotics and entertainment with animatronics. Even more so when facial animation in stop-motion uses internal mechanisms, converging art, entertainment, and science.
To this interface are added the knowledge about Human Facial Gestures studied in face recognition (machine vision) and in forensic science in its analysis of testimonies.
The design of internal mechanisms for facial animation in stop-motion takes advantage of animatronics and robotics studies, can have its operation simulated in computer graphics, and apply the possibilities that come from cartoon animation, and payback to all the fields involved.
Published in AVANCA | CINEMA 2018.
http://www.avanca.org/
Este lugar inusitado é um campo de futebol incrustado em uma encosta da colina, que divide os bairros: Colégio Batista, Concórdia e Lagoinha, em um quarteirão entre as ruas Pitangui, Rio Novo, Itabira e Formiga. Trata-se de um corte plano, cercado por um paredão de pedra em forma de J.
como industria precisa de un enfoque a la altura de su posición estratégica. Para ello, se aplica aquí la metodología
del análisis de valor para la identificación de oportunidades en el desarrollo de productos culturalmente sustentables,
abordando el diseño en la modalidad animación por stop-motion.
Whatever the field of study and application, the main concern about the face remains the emotional response of moviegoers, video game players or people in the presence of automats, animatronics, and androids.
In isolation, each field has given its steps, but the longest and most successful experience in achieving sympathy is undoubtedly the synthetic language of cartoon animation also present in puppet animation.
Although cartoon animation is also synonymous with two-dimensional animation as a technique, since Fleischer and Disney it is aesthetically perspectivist, anticipating in decades the visual paradigm of computer graphics and always having parallels in the stop-motion of puppets.
This common language of the three techniques offers contributions towards the emotional response problems faced by robotics and entertainment with animatronics. Even more so when facial animation in stop-motion uses internal mechanisms, converging art, entertainment, and science.
To this interface are added the knowledge about Human Facial Gestures studied in face recognition (machine vision) and in forensic science in its analysis of testimonies.
The design of internal mechanisms for facial animation in stop-motion takes advantage of animatronics and robotics studies, can have its operation simulated in computer graphics, and apply the possibilities that come from cartoon animation, and payback to all the fields involved.
Published in AVANCA | CINEMA 2018.
http://www.avanca.org/