ANIMATION
“The problem is that live-action and animation are becoming one in the same. As George Lucas got more successful and had more money, it became more elaborate. Rather than have three spaceships flying around you could have a thousand. It becomes abstract at that point. You don’t have what you had when two people are fighting to the death.” —Terry Gilliam, Filmmaker
TOP THREE: Progression imagery for the scene when Violet creates a forcefield to shield her family from an explosion in The Incredibles 2. (Images courtesy of Disney/Pixar) BOTTOM: Michael Eames enjoyed collaborating with filmmaker Spike Jonze on Where the Wild Things Are. (Image courtesy of Warner Bros. Pictures)
is that special panic that you have on the day [you shoot] because you know no matter what your budget is you’re never going back to this place where you are. In animation you have this luxury of being able to return to any location to redo any shot you want, no matter where in the process you are. That’s a hard limitation to get used to if you’re making the transition from animation to live-action.” Miller references some things that need to be kept in mind when making the transition from live-action to animation. “You have to be able to recognize enough about your intentions, because it’s a while before you get to see the final shot. On the flipside, you’re not stuck in the continuity that you shot.” All of the high-end animation and visual effects companies have some level of customized commercial software like Houdini, Maya and 3ds Max, he points out. “Then you have Blender, which is a free open source and the whole animation community can contribute to it, and that is a game-changer.” Collaborating with Brad Bird on both animated and live-action projects such as The Incredibles and Mission: Impossible – Ghost Protocol is Rick Sayre, Supervising Technical Director at Pixar Animation Studios. “Brad is a special case because he had some live-action commercial experience, but is also keenly aware of cinematography and production design, all of the practical production principles. The other big thing that Brad had going for him is he’s a writer-director, and that can translate quite nicely into the live-action side.” Something that a live-action filmmaker has to get used to when transitioning to animation is that everything has to be intentionally planned out, says Sayre. “The happy accident or natural interplay on set, you have to create in animation. In traditional animation it is obvious what you’re producing is a frame. But in live-action you have to be conscious of that. The audience only sees what the camera sees.” Previs is an animation process that has been adopted by live-action. “A lot of previs in live-action has become an enriched storyboard where you’re finding angles and figuring out what is the most exciting way to shoot this action,” remarks Sayre. “Almost every giant-budget genre picture now will have scenes that are entirely animated. In that sense you have these so called live-action films that are actually animated movies, like Gravity.” The blending of two mediums dates back to Fleischer Studios having animated characters walk through live-action sets. “Pixilation didn’t used
34 • VFXVOICE.COM FALL 2021
PG 32-36 ANIMATION.indd 34
8/29/21 2:36 PM
