Javier Ponce Independent Animator Discusses his work on CLAROSCURO

I started studying traditional animation in Buenos Aires, Argentina. Then I worked as an animator’s assistant, after that I dedicated myself to illustration and with the arrival of digital media. I dedicated myself to learning how to use tools from illustrations to modeling and 3D animation. So, I began to explore and animate with “layer replacing paper”. Drawing has always been my passion and thanks to computers I can now do everything that used to require a lot of time and money.

indieactivity: Detail the day-to-day process of this film project working with your closest collaborator?
Javier Ponce (JP): Creative reunion, storyboarding, and Layout.

Your work is critical in filmmaking! What were your tasks on this film project?
Javier Ponce (JP): Storyboard, layout, character design, animation, backgrounds, and animation effects.

Did you have to work with a team? Or did you go solo? Were you a 3D generalist on this project? Where do you  jump in during most filmmaking pipeline?
Javier Ponce (JP): I worked alone to do the animation.

Watch CLAROSCURO© Official Trailer

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What is your experience working on this story, screenplay, production, premiere, and marketing?
Javier Ponce (JP): Animation, production, and graphic design.

Describe your work as an animator (non-traditional/digital) versus film/cinema digital and/or traditional filmmaking?
Javier Ponce (JP): I work as an animator. So, I animate digital characters. I focus on creating expressions and acting, and creating an environment to generate a reaction from the audience.

You must have donned several hats on this medium budget project. What measure of input: intellect, effort, tenacity, skill, does it take to put out all these qualities to get this project done?
Javier Ponce (JP): You need to be part animator, and part actor. Also you need to hone many skills in different software and knowledge of the film industry.

What about this independent film did you struggle with?
Javier Ponce (JP): It was a great challenge for me to generate the characters and the film Noir style scenes, my expectation is that it is a tribute to those films.

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What would your role be if you had been in cinema collaborating with D. W. Griffith & Charlie Chaplin (silent film), Orson Welles & Alfred Hitchcock (film noir), John Huston (Visual Artist) and or John Ford?
JP: The director of photography.

Lucas wanted his 1977 film Star Wars to include animation and built ILM. What is your plan with animation? Is it  educational? Entrepreneurial? Both? What else?
JP: The animation is a complete sample of art, you will find drawing, painting, acting, physics, math and 3D animations. Animation can offer education and entertainment at same time. It can be used it with different purposes its a great tool.

The animation industry has come a long way from Disney (traditional cell animation) and Star Wars. Today it’s still  driven by technology (software and hardware), take us through a short history of the industry progress from your view?
JP: The animation industry has always been constantly advancing and evolving from Quirino Cristiani to James Cameron. 3D brought us a new look with colors and fantasy for new audiences. The possibilities of expanding your imagination become infinite from Superheroes to creating CGI worlds. The Imagination today is a reality.

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ILM created the OpenEXR format and invented IMoCap. It runs the largest render farm; Death Star. How do  animation companies finance, re-finance, and/or stay in the animation business? Do you think this film will trigger  an industry-wide success? Is it feasible? Is it necessary?
JP: To remain in the industry, quality standards must be improved day by day, providing the audience with a better cinematographic experience.

The companionship of animation and filmmaking has spiked, do you think we are at a peak? If we are not, when  do you think it will peak?
JP: The animation has progressed to make the directors’ dreams come true, I think that the doors were opened for many filmmakers without much budget to be able to make animations and tell stories at the same level as the most important studios.

Independent films benefit from low-end animation tools like After Effects, Blender etc. Introduce us to more  tools you work within this sphere of filmmaking?
JP: Opentoonz, gimp, filmora, and photoshop.

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Do you have a production company – what was the motivation for its formation?
JP: I’m in the process of creating my own production company. The motivation is to try to prove that with a small budget you can tell great stories.

What was the first project out of the gate?
JP: Paraíso Nazi an animated short movie about the Nazis in Argentina.

Where do you think your strengths lie as an animator?
JP: In the expression and the acting of the characters, I try to give them emotions and feelings.

Do you think your work can sell a project? Often if the animation is done properly it goes unnoticed. How much  media attention do you think animators artists need?
JP: As artists we express ourselves through our works, we need our work to be disseminated to many people so that they know the effort behind each animated film and the stories that allow an animated film to be made.

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What else have you got in the works? 
JP: Actually, I’m working on illustrations and animations for social media and making another short movie. In my Instagram you can find some works.

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