We continue to create cartoon characters Ratatouille with Jason Diemer
We continue the story of the magnificent joint creation of Disney and Pixar - "Ratatouille . " Before reading, we strongly recommend that you read the first part .
After the artists draw the appearance of the model, sculptors make it in clay. Sometimes sculptors depict emotions. The Pixar animation system called MenV does not use the “blend shapes” method (the method when the initial and final emotions of the character are set, and the system itself generates a transition between them). Therefore, digital processors do not need to know exactly how the model smiles, laughs, gets angry, and so on. “With the help of MenV, animators work on each element of the face separately,” says Dimer. “They can move every muscle on a character’s face.” There is no need to generate a transition from a smile to a neutral face. They can simply lift the corners of the model's mouth. Both methods have their advantages. The advantage of MenV is that animators can convey really lively emotions on the face. ”
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To make it easier for animators to endow rats with human emotions, the creators of the characters changed the basic anatomy of rodents. “The human eyebrows, eyes, nose and mouth are on the same plane,” Dimer writes in The Art of Ratatouille . “In rats, the protruding muzzle. We gave our rats big eyes and slightly moved them forward, so that you could see the eyes and mouth simultaneously from different positions. ”
Designers-creators are closely watching the process of turning characters into 3D models. “Sometimes, the first sketches of the model are much better than we expect,” says Dimer. "And sometimes you have to figure it out."
In order to make Linguini, Pixar scanned a clay figurine in high resolution, put the resulting in a computer and began polishing the model. “If you place the scanned figure in a computer, you immediately see how it is asymmetric,” says Dimer. "Digital artists are moving sculptures to a new level."
Every time designers add a new character, or change an old one, they always put it in the company of other cartoon characters. “The main idea was to create individual silhouettes,” says Diemer. “I compare this with the music for the film. Maybe you do not notice this, but each character appears on the screen under his own musical theme. We tried to visualize it. We wanted each character to be revealed to the viewers instantly. ”
Dymer believes that Gustav has become the most difficult character. In the early version of the script, Gustav was the main character - a huge chef and owner of a five-star restaurant in Paris, who lost his passion for cooking. In that scenario, Remy helped Gustav regain joy in cooking.
“Drawing Gustav was the hardest thing because he was the character who defined the entire movie,” says Dimer. “His clay sculpture was made first, then it was decided that it failed. So we began to change this character again and again, and eventually we came to the original version. Usually it happens - the first decision is the right one. But you still have to go through doubts and searches. ”
When Bird became a director, he killed Gustav and made him part of Remi's imagination. The appearance of Gustav has not changed, he just became thin and transparent. “It was a great decision,” says Dimer. “We had so many characters that they just did not fit all in one movie. Killing Gustav solved many problems, and we were able to use his spirit as a means of explaining many things. ”
Byrd changed and rats. “There were fears that people would not like rats, so we tried to make them attractive,” says Dimer. "In the process, they began to walk on our two legs." Rats crawl on four, and Remy began to differ from the rest, standing on two legs. The mechanics of the characters changed, the bearing of the heroes was given importance, otherwise all the rats looked the same - after all, their faces hardly changed.
Then, technical specialists start working on three-dimensional models, and the character creators still monitor the work, but their participation in the project is reduced. For example, Dimer, began work on the cartoon "Wall E" , the story of the robot, the author of the script and which was directed by Andrew Stanton, the man who wrote and directed "Finding Nemo." In the project, Dimer is the art director of the characters - he follows the creation of all the characters in the film. But he does not stop drawing, both at work and at home.
“I draw a lot: buildings in San Francisco, characters just for the soul,” says Dimer. "People at airports, whatever it is in front of me." And of course, coffee cups. In the gallery of San Francisco, his circle is now presented as proof of a stunning career: from the xerox operator to the art director of the studio. Still, the craving for drawing always and everywhere remained with him.
“I painted all the time while we were talking,” says Dimer. When he was asked what he was painting, we were not surprised. He painted the on / off switch for the robot. Well, let's look at the new heroes of Dimer in June 2008.
In continuation of the topic I would like to recommend several video podcasts covering the creation of the cartoon.
PS Soon there will be something similar about another cartoon from the company Pixar, photoshop lessons and much more. ;)
Follow our RSS feeds.
After the artists draw the appearance of the model, sculptors make it in clay. Sometimes sculptors depict emotions. The Pixar animation system called MenV does not use the “blend shapes” method (the method when the initial and final emotions of the character are set, and the system itself generates a transition between them). Therefore, digital processors do not need to know exactly how the model smiles, laughs, gets angry, and so on. “With the help of MenV, animators work on each element of the face separately,” says Dimer. “They can move every muscle on a character’s face.” There is no need to generate a transition from a smile to a neutral face. They can simply lift the corners of the model's mouth. Both methods have their advantages. The advantage of MenV is that animators can convey really lively emotions on the face. ”
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Pixar cartoons are valued for their special accuracy and vivid emotions of characters. This is achieved thanks to the MenV system specially created Pixar. The animator has the opportunity to work with each element of the face separately. For example, in order to create a smiling face, he first stretches the corners of the model's mouth, then raises his eyebrows and narrows his eyes. In this case, an open, sincere smile will be created. The uniqueness of the method is in its flexibility. It is necessary for the animator to raise one eyebrow, slightly lowering the other, and already it turns out a malicious smirk. If initially not to stretch the corners of the mouth, you get a mysterious smile like a Mona Lisa.
Previously, all possible variants of the model's faces were created, transmitting the whole range of emotions: sometimes hundreds of variants of faces for the same character were obtained (the same way puppet cartoons are made). This method in three-dimensional animation called "blend shapes". Pixar made a serious step forward - their MenV method allows you to create countless emotions from scratch.
To make it easier for animators to endow rats with human emotions, the creators of the characters changed the basic anatomy of rodents. “The human eyebrows, eyes, nose and mouth are on the same plane,” Dimer writes in The Art of Ratatouille . “In rats, the protruding muzzle. We gave our rats big eyes and slightly moved them forward, so that you could see the eyes and mouth simultaneously from different positions. ”
Designers-creators are closely watching the process of turning characters into 3D models. “Sometimes, the first sketches of the model are much better than we expect,” says Dimer. "And sometimes you have to figure it out."
In order to make Linguini, Pixar scanned a clay figurine in high resolution, put the resulting in a computer and began polishing the model. “If you place the scanned figure in a computer, you immediately see how it is asymmetric,” says Dimer. "Digital artists are moving sculptures to a new level."
Every time designers add a new character, or change an old one, they always put it in the company of other cartoon characters. “The main idea was to create individual silhouettes,” says Diemer. “I compare this with the music for the film. Maybe you do not notice this, but each character appears on the screen under his own musical theme. We tried to visualize it. We wanted each character to be revealed to the viewers instantly. ”
Dymer believes that Gustav has become the most difficult character. In the early version of the script, Gustav was the main character - a huge chef and owner of a five-star restaurant in Paris, who lost his passion for cooking. In that scenario, Remy helped Gustav regain joy in cooking.
“Drawing Gustav was the hardest thing because he was the character who defined the entire movie,” says Dimer. “His clay sculpture was made first, then it was decided that it failed. So we began to change this character again and again, and eventually we came to the original version. Usually it happens - the first decision is the right one. But you still have to go through doubts and searches. ”
When Bird became a director, he killed Gustav and made him part of Remi's imagination. The appearance of Gustav has not changed, he just became thin and transparent. “It was a great decision,” says Dimer. “We had so many characters that they just did not fit all in one movie. Killing Gustav solved many problems, and we were able to use his spirit as a means of explaining many things. ”
Byrd changed and rats. “There were fears that people would not like rats, so we tried to make them attractive,” says Dimer. "In the process, they began to walk on our two legs." Rats crawl on four, and Remy began to differ from the rest, standing on two legs. The mechanics of the characters changed, the bearing of the heroes was given importance, otherwise all the rats looked the same - after all, their faces hardly changed.
Then, technical specialists start working on three-dimensional models, and the character creators still monitor the work, but their participation in the project is reduced. For example, Dimer, began work on the cartoon "Wall E" , the story of the robot, the author of the script and which was directed by Andrew Stanton, the man who wrote and directed "Finding Nemo." In the project, Dimer is the art director of the characters - he follows the creation of all the characters in the film. But he does not stop drawing, both at work and at home.
“I draw a lot: buildings in San Francisco, characters just for the soul,” says Dimer. "People at airports, whatever it is in front of me." And of course, coffee cups. In the gallery of San Francisco, his circle is now presented as proof of a stunning career: from the xerox operator to the art director of the studio. Still, the craving for drawing always and everywhere remained with him.
“I painted all the time while we were talking,” says Dimer. When he was asked what he was painting, we were not surprised. He painted the on / off switch for the robot. Well, let's look at the new heroes of Dimer in June 2008.
In continuation of the topic I would like to recommend several video podcasts covering the creation of the cartoon.
PS Soon there will be something similar about another cartoon from the company Pixar, photoshop lessons and much more. ;)
Follow our RSS feeds.
Source: https://habr.com/ru/post/15900/
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