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Additional info for 3D World (July 2016)
Gerardo: The directors and visual effects supervisor needed our shots to have realistic timing and “weight” to the animation, as that affected the timing in the shots and the pacing in the edit. For some of the ground-based action scenes, we would use motion capture animation from our mocap library but would hand key the animation of key fight scenes because of the specific story moments that needed to be told. What was required to come up with cinematic and safe action sequences involving complex character interaction, stunts and explosions?
But what will excite animators and 3D artists is the way in which Alan, with the help of Pixar’s tools department, chose to create the story. The look is photoreal in the same vein as Pixar’s short Blue Umbrella; believably real, yet stylised. The ocean, the sandpiper’s nest in the tall grass, and especially the birds themselves, have the softness of an early morning on the coast. The waves break on a sandy beach, come in with the tide, and then retreat leaving foamy edges dissolving into the sand.
When it comes to software, Steve‘s team used Maya for animation and modelling, with Nuke for compositing: “These two applications are the backbone of everything we do as most of the good artists are trained up on them. ” Steve Gomez used a Maya, ZBrush and Nuke pipeline on his movie Kill Command 3D WORLD July 2016 38 My best teacher was filmmaking itself. You learn the most about filmmaking by making a film Shawn Bu, director, Darth Maul Apprentice Editing was done entirely in Avid by Celeste Bothwick, which was “absolutely reliable when everything else is failing,” Steve adds.
3D World (July 2016)