There was a lot of modeling and procedural environments in order to do the set extensions. Explains Riccarand, “People love that! The Mushroom Kingdom was a nice set to do. It was a bit more cartoony, but with realistic lighting.” A staple of video games is to have a world filled with giant mushrooms. The lava had to be stylized to work with the characters in the scene. You can’t have multiple simulations rendering overnight to have them ready for the day after. “But when it comes to scale and a thousand shots to do, we had to be smart to find a good solution that doesn’t cost too much. “It was not scary to do because our proprietary software helped us to deal with the smoke,” Riccarand states. This is because the interaction between the characters, the cast and camera can be tricky, as their relationship with each other needs to be like a dance in order to get a good position.”īowser lives on a volcanic world and resides in Lava Lake Keep. “We did two passes of previs, one animated and the other with characters. Sequences were mapped out using storyboards and previs. “We do a lot of proprietary software and jump at the possibility to do what we need in order to achieve the look that the director wants, whether it be physical or cartoony,” Riccarand says. That’s what I love about it.” When doing simulations in animation, it’s all about achieving the proper balance between plausibility and stylization. Directors want something bigger, more realistic and interesting. “The way we use effects has changed hugely because technology and software has evolved a lot,” Riccarand states. In the middle of the zany craziness is Illumination veteran Milò Riccarand, who was the Head of CG on the project and has seen the evolution of effects utilized by the Paris-based animation studio since Despicable Me became a global sensation.
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