We just wanted a certain level of grain because that’s the same style as the background. It allows you to pick any painterly style like wash, watercolor or oil, and decide the behavior and size of the strokes and apply it to the image. It’s another tool from Les Films Du Poisson Rouge and it’s called M.O.E. But it’s not the texturing you know from 3D. Then you merge them to get the ‘baked’ lighting look.Īfter lighting, there’s another step which we call ‘texturing’. They will go through whatever number of layers they had using a tracking system that was part of the tool that Les Films Du Poisson Rouge brought to the plate. Each one of those layers would have a set of shapes that the artist would create underneath the layer for the shot. We’d introduce up to eight layers of lighting, it could be anything from ambient occlusion, sub-surface scattering, rim light, specular for the eyes, bounce light, etc. The lighting process was essentially about breaking down the lighting of a scene in a convincing way, the same way that concept artists do every day. We needed to have a lighting reference for the background and the characters that was very cohesive so that both the background painters that were working on the backgrounds and the lighters on the characters were drawing from the same source. The color script didn’t have quite every shot in the film but I would say at least a shot out of every four. We had a color bible for the whole film and we also had a color script. So it was very selective about how many of those lines we actually needed and how many of them we could replace with shadows later. But you’ll still see internal lines in hands or a face sometimes. So, you’ll notice a lot of outlines are gone because we felt that if the information with the contrast and the value of the color had already been given, then you don’t need a line to do that. We only kept lines where lines were required to convey information. Then it would go to ink and paint where they would treat the lines. We had a clean-up team just like the old days where assistants and in-betweeners would do all the rest of the drawings and nice clean lines. No puppet animation, it was all hand-drawn frame by frame. From layout we did animation directly in Toon Boom Harmony. We would split layout depending on whether it was a 2D shot or 3D shot (see below).
The great thing was, from there we could go straight to layout. We would storyboard with Storyboard Pro from Toon Boom. Everything from storyboarding through to ink and paint was all based on the Toon Boom pipeline. The other extremely important part of it was Toon Boom – the whole pipeline is built around Toon Boom Harmony. We called the tool ‘Klaus Light and Shadow.’ What came out of the partnership was this insanely intuitive tool that works in real-time and it allows artists to do an amazing amount of work in not much time. Not just vector drawn lines, but even bitmap lines.
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Les Films Du Poisson Rouge figured out how to derive a tracking system from drawn lines. It was Marcin’s recipe and Les Films Du Poisson Rouge’s proprietary solutions – we merged those together. They had been developing tools for 3D and 2D for a long time. This is when we reached out to Les Films Du Poisson Rouge. That proof of concept was incredible, but it was a time consuming process. If you pull it off, the question is, is this something you can do, because you’re a freakin’ mad-genius or can we actually teach other people to do this, too?’ The irony was, I was reaching out to people in the US and Canada and Australia and the guy who had the solution was in the next room. Then I said, ‘I’m going to give you an actual shot, where a character walks into a room and there’s a different set of lights. I said, ‘Well, I’m not sure how you’re doing this, but let me give you something more complex.’ So I gave him a walk cycle, and he knocks it out of the park.
So I sent him an animated head turn – about 16 frames – and he brought back this thing that looked 3D.
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