Friday, March 7, 2014
Making of Disney Get a Horse
Making of Disney Get a Horse
Walt Disney Studios’ animated short “Get A Horse!” is nominated for an Academy Award this year. Here is an exclusive Making of Disney Get a Horse Video. Behind the scenes look at the creation of one of the film’s shots.
In order to replicate the look of the classic black and white Mickey Mouse, the studio researched shorts created between 1928 and 1946. We wanted to make it feel like you were back in 1928, We essentially had to train our artists away from perfection and do things like not register Minnie’s feet to the ground. There was also a ‘film damage’ pass added which had film lines and dirt.
The stunning reveal as the characters jump in and out of the screen going around in a circle onto a stage required meticulous co-ordination between 2D and 3D. We drew everything on paper and cleaned everything up on paper too first, On the shot running in and out of the screen in the circle, we had Adam Green our head of CG animation and Eric Goldberg our head of 2D animation work together. I think in one day they passed that shot back and forth to each other four times.
We got a rear projector to show what it would actually look like when they come on the screen and then once they pop out of the screen, to make it feel like it was an old-time movie projector. Then we did a lot of camera work with that research to make sure we could actually translate that onto the screen.
And we knew right from the beginning this would play right into stereo. When Mickey pops out of the screen onto the stage, we had to make sure that stage was just right, so that when you’re in the theater it looked right. Most movie theaters don’t have a stage, so we had to do test after test by going to different theaters to make the platform/stage look right in stereo.
The short’s throwback to Disney’s animation heritage extended not only to the final look, but also its sound. As it turned out, Walt Disney Imagineering had a library of authentic sound effects from the 20s and 30s which made it into the film. And even Walt Disney’s voice, itself, features as the voice of Mickey Mouse. It took our crew three and a half months to pull all the dialogue from 1928 to 1946, We had everything in there except for the word ‘red’. We could not find ‘red’ anywhere. So our associate editor went through and pulled a ‘arr’, ‘eh’, ‘deh’ out of Walt’s dialogue and created the word red!
In order to replicate the look of the classic black and white Mickey Mouse, the studio researched shorts created between 1928 and 1946. We wanted to make it feel like you were back in 1928, We essentially had to train our artists away from perfection and do things like not register Minnie’s feet to the ground. There was also a ‘film damage’ pass added which had film lines and dirt.
The stunning reveal as the characters jump in and out of the screen going around in a circle onto a stage required meticulous co-ordination between 2D and 3D. We drew everything on paper and cleaned everything up on paper too first, On the shot running in and out of the screen in the circle, we had Adam Green our head of CG animation and Eric Goldberg our head of 2D animation work together. I think in one day they passed that shot back and forth to each other four times.
We got a rear projector to show what it would actually look like when they come on the screen and then once they pop out of the screen, to make it feel like it was an old-time movie projector. Then we did a lot of camera work with that research to make sure we could actually translate that onto the screen.
And we knew right from the beginning this would play right into stereo. When Mickey pops out of the screen onto the stage, we had to make sure that stage was just right, so that when you’re in the theater it looked right. Most movie theaters don’t have a stage, so we had to do test after test by going to different theaters to make the platform/stage look right in stereo.
The short’s throwback to Disney’s animation heritage extended not only to the final look, but also its sound. As it turned out, Walt Disney Imagineering had a library of authentic sound effects from the 20s and 30s which made it into the film. And even Walt Disney’s voice, itself, features as the voice of Mickey Mouse. It took our crew three and a half months to pull all the dialogue from 1928 to 1946, We had everything in there except for the word ‘red’. We could not find ‘red’ anywhere. So our associate editor went through and pulled a ‘arr’, ‘eh’, ‘deh’ out of Walt’s dialogue and created the word red!
Thursday, March 6, 2014
Crazy Cub Animations: The Birth of Snugglish
Delhi based Crazy Cub Animations that is founded and spearheaded by Kamal Pahuja has created a 3D Animated Short titled ‘Totlings- The Birth of Snu
gglish’. Inspired by the characters of animated film ‘Despicable Me’, this 2 minutes 20 seconds short’s story line was provided by the team of Totlings, a Company based in Los Angeles.
gglish’. Inspired by the characters of animated film ‘Despicable Me’, this 2 minutes 20 seconds short’s story line was provided by the team of Totlings, a Company based in Los Angeles.
Crazy Cub team was provided with basic character designs of this short and initial designs were very outlines of the characters done in Adobe Illustrator.
Short was created in 3 and half months time and a month was taken for executing the Pre-Production.
Speaking to AnimationXpress.com about this Totlings- Birth of a Snugglish’, Kamal, Director of 
this short, says, “We reworked on storyboard a number of times till we were satisfied with the overall flow of the story. I feel Pre production is a very important aspect, and if you get it right, it saves a lot of production time.”
this short, says, “We reworked on storyboard a number of times till we were satisfied with the overall flow of the story. I feel Pre production is a very important aspect, and if you get it right, it saves a lot of production time.”
On the research front, Crazy Cub took referred to Despicable Me for studying facial expressions and mannerisms of kids and then instilled it into this short.
Kamal adds here, “Along with studying other movies, my son was also a great reference for understanding kids.”
Kamal adds here, “Along with studying other movies, my son was also a great reference for understanding kids.”
Credits for this short go to, Arun Priya Gautam , Reenu Kamal and Kamal Pahuja for Art Direction, Concept Art – Arun Priya Gautam, Character Modeling and Texturing – Priti Singh Awadhesh Rana, Environment Modeling & Texturing – Awadhesh Rana, Rigging Artist – Aarchish Jain, Animation by Akshata Bhatt, Pooja Krishnan, Preeti Baisoya, Rohan Sikarwa, Sagar Singh, Sachit Anand, Lighting / Rendering – Jatin Parkash, Compositing and Effects – A. Ramesh, Editing - Kamal Pahuja, Background Music and Sound Effects – Dejan Craevic.
Animating the short in 3D was the choice of Totlings team and Kamal considers this medium as the strength of this short.
Adding more on the look and feel, he says, “As the story is happening in a cute and magical world of Totlings, Crazy Cub decided to have a bright, colorful and soft feel to the characters and the environment.”
Magical effects along with lots of lighting and color enhancements were done during Post Production of this short.
“I think the biggest challenge in this project was to maintain simplicity and cuteness.” Shares more
Crazy Cub is presently working on Next set of Tunetoons videos and other 3D animated commercials.
VanArts visits MUMBAI, 13th March 2014
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Adobe Webinar on Digital Post Processing - to join, Register now: 11th March 2014
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