#The adventures of tintin by hergГ© professional
#The adventures of tintin by hergГ© series

HergГ© participates more in the development process, and supervises a lot of meetings between his collaborators (Bob De Moor and Jacques Martin) and those of Belvision. This is how Belvision attracted from 20 to 120 people in a few weeks. The goal is to produce five useful minutes per week. In 1960, Raymond Leblanc managed to involve TГ©lГ©-Hachette, the subsidiary of the French publisher, in his film projects on Tintin. They went from semi-animation to вЂњfull animationвЂќ by using the system of layers with pins and the tracing of images on cellos. Under the leadership of Goossens, Belvision renounced 16 mm in black and white, and equiped itself for 35 mm in color.

#The adventures of tintin by hergГ© professional

Leblanc then hires Ray Goossens, a professional from cartoon advertising, recommended to him by Van Milleghem. This refusal resulted in laborious animation and frozen characters and the result disappointed RTF, which terminated its association with Belvision, along with Van Milleghem. On the advice of R.T.F., the production was entrusted to Anne-Marie Ullmann, who was prohibited from retouching the drawings provided by Studios HergГ©. He also adapted his voice when playing another character, a process common at the time in radio soap operas. These visual and oral changes were deemed necessary to make the whole thing more captivating for viewers.ДЄ single actor then provided all the voices of all the characters (including that of the Castafiore!): Jean Nohain voiced the narrator and to all the characters. For example, at the beginning of вЂKing Ottokar's SceptreвЂ™ (episode 1), in the Syldavian restaurant 'Klow', Tintin does not ask to go to the toilet but asks to phone. Likewise, the scenario has sometimes been changed. Some of the boxes of the comics had undergone some small alterations as well as totally new images, notably in The Broken Ear. HergГ© finally got more involved than expected in the scripts and the drawings. Only the episodes of The Broken Ear have a little more animation. In these two series, everything is done in semi-animation mode with a majority of still images and a few rare character movements. вЂThe Broken EarвЂ™ aired from 4 July 1959 to 15 August 1959 on each Saturday. вЂKing OttokarвЂ™s SceptreвЂ™ aired from 28 November 1957 to 15 January 1958 on each Thursday. King OttokarвЂ™s Sceptre had 8 episodes of thirteen minutes, while The Broken Ear had 7 episodes. Despite a cheerful commentary, provided by the very popular Jean Nohain, King OttokarвЂ™s Sceptre (1956-57) and The Broken Ear (1957-58) will leave everyone unsatisfied. The result was unfortunately left up to the ambitions limited by the technique used: frankly disappointing. It is he who will ensure and supervise the layout of the characters and the sets.

This is why he asks his collaborator Bob De Moor to follow him closely. HergГ©, who has just completed the publication of The Calculus Affair and who is immersed in the The Red Sea Sharks project, does not intend to be mobilized by this parallel project for two years.

#The adventures of tintin by hergГ© series

This black and white animated series can therefore be considered as the very first adaptation of Tintin's adventures in cartoons. They were made in 16 mm black and white film, from the books King Ottokar's Sceptre and The Broken Ear. This was a series of animations produced in 1957 by Belvision for the French Radio-Television (RTF because there was only one channel in France at that time). In 1956, Belvision secured rights to adapt stories from The Adventures of Tintin from HergГ© and signed a contract with the French Radio-Television, for two stories of Tintin cartoons. First, there were several animation adaptations of Flemish artist Willy Vandersteen's comics Suske en Wiske which Karel Van Milleghem liked. The first real animations were carried out by Belvision from 1955 to 1958 for Belgian Television, with basic means. The key player of the company was Karel Van Milleghem, editor of Kuifje (the Dutch-speaking version of the Tintin magazine). It was specified that the purpose of the company is to produce filmed programs. On 15 October 1954, Raymond Leblanc created the Belvision Studios.

He then decides to create the Belvision Studios. Raymond Leblanc, editor of the Tintin magazine sees in the emergence of television a promising medium for his paper characters.

2.7 The Calculus Case (The Calculus Affair)Дevelopment Background: Birth of Belvision and the first two adventures.

2.5 The Star of Mystery (The Shooting Star).

2.1 Objective Moon (though a direct adaptation of Destination Moon, majority of it is based on Explorers on the Moon).

1.1 Background: Birth of Belvision and the first two adventures.