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We didn't do motion capture, we basically shoot with different camera angles and then we animated based on those movements. She did an amazing job and she brought incredible dancers, both male and females, and we were shooting reference. And I wanted to do something that modern and that sophisticated, so we got together with this choreographer, Sarah Silk. That's what we've been seeing in ballet for the longest time. I feel that dancers can actually communicate feelings just with movements, without the need of words. So in this case, I wanted to work with a choreographer because I wanted to use dance as a way of communicating. Mielgo: Technically what we do, what I like to do, is to record reference.
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Speaking on coming back for the third volume after getting more experience as a director, the more difficult challenges of animating the short, and the challenges in portraying its dark romance, Mielgo opened up about the new work! Read on for our full conversation with Alberto Mielgo (edited for clarity) and let us know what you think! Have you checked out Jibaro? Where does it rank among your favorite shorts of the volume? Let us know all of your thoughts about it in the comments! You can even reach out to me directly about all things animated and other cool stuff on Twitter!ĬB: Speaking to that difficulty, "Jibaro" has a lot of high energy movements and energetic dancing, so how was it developing those scenes in particular? Alberto Mielgo, who wrote, designed and made his directorial debut with "The Witness" back in the first season of Love, Death + Robots, and has since gone on to win an Academy Award for Best Animated Short Film for his work with "The Windshield Wiper," has now returned to Love, Death + Robots' third volume of episodes with the mesmerizing short, "Jibaro." Luckily, had the chance to have a brief conversation with Mielgo about returning to the anthology.
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