At 14, Didier was a cartoonist in Old Montreal. At 19, still passionate about drawing, he enrolled at Sheridan College in Ontario, known for its faculty of animation, art and design. Since then, he has become an all-rounder in animation, working in design, character design, storyboarding and directing. He has worked on several animated series and films including Kaput and Zösky, Walter, Station X And Bob Morane. He has been bringing the characters of to life for 6 years Babyatricea charming series that gives the voice of a little girl with a lot of character and is heavily inspired by the family dynamics of Guy A. Lepage.
PHOTO PROVIDED BY DIDIER LOUBAT
Does technology make animation work easier?
We are no longer at the 24 frames per second of time. It is a program that calculates the movement between point A and point B. The characters are kind of puppets. When PapaGuy has one hand on his hip and then picks up a cup, the software bridges the movement between the two poses. Then we modify the timing so that it is not mechanical but natural. It is a job that requires a lot of time and attention to detail. It can take 7-8 months between the moment I receive the text of a sketch and the final mix. Of course, we work on several sketches at different levels at the same time. Just because it looks easy doesn't mean it's easy to make!
What exactly does it mean to be an animation director?
It all depends on the project, but in my case, with Bébéatrice, I like to be active in several phases. When Guy presents his texts to me, I first read them and then analyze them. If we're in a kitchen scene, there's a bowl of cereal, a spoon, mom comes out of the gym with a towel on her shoulders, I need to see all the elements that I need. It's like live action. I explore by drawing. I can draw between 12 and 40 elements for a sketch. I also come to set up the stages. When we are at the zoo, we need to see cages and animals behind the action. It is not written, but I add everything that can give life. If there are effects when Bébéatrice vomits, I need to identify the vomit. Everything has to be drawn. I'm working on a program on the computer and another person comes to clean up the drawings. Then I edit the scenes and stage the gags. I storyboard with wide shots, close-ups and medium shots to give the rhythm and punch without stealing it. It's like directing with actors.
When will the votes come?
I already have the footage when I draw. This allows me to determine the duration of the recordings and determine the intonation. But sometimes we need to repeat lines to make them even more concise. At this point I have to start the drawings again because when Bébéatrice says a line more aggressively, it is illustrated by the facial features, and when the expression of the voice changes to a funnier style, the expression of the person also changes in the drawing.
How would you describe Guy’s (and his collaborators’) writing?
I like that Guy sticks to the news or the mood of the moment. For example, we have a transgender character. I also like that there are two levels. It appeals to children, but it also appeals to parents. My job is to ensure a good balance. It is realistic and lived-in. It's the perfect co-viewing.
Which sketch in the six seasons are you particularly proud of?
Béatrice is a bit like a sitcom. We are in realism. But with the songs I can go overboard and allow myself to get into science fiction and horror. They're like little music videos. The song “Pommes Fries Fries” is a great example of artistic direction, of elements that weren’t there at the beginning and that I was happy to develop.
- Béatrice (in 30 minute version)
- Sunday 7:30 p.m. on ICI TV
- Capsules available on HERE Tou.tv