Another peak behind the scenes of our visual development with some previews of the evolution of the artwork beyond Benjamin Renner's early involvement.
The biggest challenge for us was to try and retain the stylization and graphism of the conceptual artwork, which was very much inspired by Benjamin's love of cut-out and 2D animation.
This stylization in fact worked in our favour as we never intended to try and produce a photorealistic look for our film, firstly due to our artistic direction, secondly due to our budget... Realism in animation is costly!
For me animation works best when it's stylized, when the design, look and characters are 'made' for animation and do not try and emulate real life.
From the design, the anatomy of the models and even the materiality of the surfaces, our film had to have a hand-made feel, but also have a good sense of it being able to 'animate' well.
For as much as I love Spielberg's Tin Tin I feel that giving Captain Haddock ultra realistic drunken broken capillaries and open pores on the skin of his face and nose is a step too far.
George Remi's cartoons are such charmingly caricaturized characters that they do not need to look so real up close.
The biggest challenge for us was to try and retain the stylization and graphism of the conceptual artwork, which was very much inspired by Benjamin's love of cut-out and 2D animation.
This stylization in fact worked in our favour as we never intended to try and produce a photorealistic look for our film, firstly due to our artistic direction, secondly due to our budget... Realism in animation is costly!
For me animation works best when it's stylized, when the design, look and characters are 'made' for animation and do not try and emulate real life.
From the design, the anatomy of the models and even the materiality of the surfaces, our film had to have a hand-made feel, but also have a good sense of it being able to 'animate' well.
For as much as I love Spielberg's Tin Tin I feel that giving Captain Haddock ultra realistic drunken broken capillaries and open pores on the skin of his face and nose is a step too far.
George Remi's cartoons are such charmingly caricaturized characters that they do not need to look so real up close.
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