《We Are All One》is a documentary animation, that talks about the Great East Japan Earthquake and Tsunami, and how people try to rebuild the community. To reflect this serious topic, the art style is black and white mainly, expressing a newspaper collage look.
The documentary animation describes the story from many people’s perspectives, sothere are a certain number of characters. I try to make character designs like paper art—with a concept of scissors lines and various paper textures.
I tried to make good use of paper to represent many elements, such as air, sea,trees, and buildings. The key to the world is the value. Good value arrangement creates a sense of space and also presents an aesthetic world even without color.
Director Hu Jung-Hsin
Art style Hu Jung-Hsin
Character design Hu Jung-Hsin
Storyboard Hu Jung-Hsin
Illustration Hu Jung-Hsin
Animation Lingbo Shangguan
Editor Inha Makarova
Producer Maggie Wang
Produced by Ribbon for Humanity
《Distance》 portrays our shared memories - social distancing. It reveals what medical staff undertook during the early Covid-19 time, and how they sacrificed their family time for a better world -- where with hope.
《Distance》introduces a family in a separated condition. To present warmth, all characters were drawn with pencil-line texture, and the line quality was artistic and open.
Weiwei , as a respiratory doctor, she stands high stress to treat patients in a hospital during the Covid-19 time. Simultaneously, she is a mother who is absents from home because of the lockdown rule. She wants to have family time, but that is a question during the pandemic.
Luca is Weiwei and Ferries’s baby boy. He always expresses his emotion directly. While staying at home with his father, he misses his mother very much.
Ferries , as a father who works from home, he takes care of the baby boy when Weiwei’s absent from home. He tries to connect the bond between Weiwei and Luca.
London is Distance’s story stage, where the filmmaker experiences lockdown. To reflect a mind that Weiwei wants to touch her family, all background was hand-painting with a watercolour approach. It is worth noting that Distance’s world was divided into two fields -- hospital, and the outside world. The hospital, where the protagonist stands under high pressure and high risk, was portrayed in straight lines and gray colors. On the contrary, the outside world from the hospital, where Weiwei freed her sensibility, was full of organic lines and colorful.
Storybeat is a key for me to develop a story. It shows the most important scene of the animation and is a structure for the storyboard. Impression Frame offers a vibe of the film, which contains art style, main colors, and technique approach. Emotional Journey is a kind of plot design, it indicates how the story goes on, how the protagonist gets through, and what different emotions the audience will experience in the cinema.
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Director Jung-Hsin Hu
Script Writer Jung-Hsin Hu
Storyboard Artist Jung-Hsin Hu
Music Composer Guillermo Pita
Sound Designer Guillermo Pita
Team of Animation
Animated by Jung-Hsin Hu
Assisted by Junar Kim
Color Scheme Jung-Hsin Hu
Colored by
Jung-Hsin Hu, Lingbo Shangguan, Natalja Ropotova, Xiyao Wang
Haemin Ko, Christina Nerland, Jialingren Pei, Yeifei Yao
Background Jung-Hsin Hu
Visual Effect Jung-Hsin Hu
Film Edited by Jung-Hsin Hu
Team of Orchestra
Conductor Levent Altuntas
Violin 1 Emmanuel Webb
Violin 2 Eliott Bougant
Viola1 Joseph Lowe
Viola2 Lia Melo
Cello Alexandru Torge
Flute Laura Pähkel
Oboe Kara Battley
Clarinet Alexander McDonald
Piano Oliver Cuttriss
Fixer Lia Melo
Team of Recording
Recording Engineer Andy Denyer
Booth Readers Grigor Abgaryan, Nacho Mañá Mesas
Audio File Edited by Guillermo Pita
《I’m optimistic》is a charity project for Children’s Society in the UK. The animation visualizes audio from a teen volunteer in the Charity, which delivers an optimistic message to crowd.
The filmmaker thought this anonymous volunteer’s content shows his young generation rather than just himself. Therefore, the character design represents as inclusive as it can -- in a simple shape, with primary colours.
How technology makes the protagonist feels empowered and hopeful is the theme image that the filmmaker wants to present. The texture of oil painting expresses the feeling of freedom with mainly yellow, red, and blue compositions.
Director Jung-Hsin Hu
Animation Jung-Hsin Hu
Sound Jung-Hsin Hu
Audio Children’s Society
Producter Children’s Society, Universiy of the Arts London
《 Jumping to the Unknown 》 is an abstract microfilm that talks about courage. In order to explore the new space, a red bird who try to overcome its fear and jumps from the cliff.
Origami is the main concept for developing figures - to simplify, to minimize it. The filmmaker especially addresses the red bird’s movement to show its emotion in different situations.
The scenarios in 《 Jumping to the Unknown 》 were made in stop-motion. When the red bird explores the new world with fear and doubt, the world looks dark and sharp, where built up by papers. Once it flies in more confident, the world becomes softer and brighter -- where built up by cotton.
Directed by Jung-Hsin Hu
Stroytelling by Jung-Hsin Hu
Animated by Jung-Hsin Hu, Lingbo Shangguan , Natalja Ropotova
Music by LingboShangguan
Edit by LingboShangguan
Produced by MA Character Animation, Central Saint Martin
