Observes Edwards, “In terms of character rigging, we try to lean into that so animation can have the controls, because that way they can drive the timing of the expressions. We ended up using that a lot to get broken edges.” When Puss in Boots drinks a cup of espresso, his eyes become extremely expressive. It felt a lot more like what an illustrator might draw with a couple of gaps. We also mapped transparency to our thicker guide curves, and that meant we could get little breakups between a single fifth hair. We could get these bigger, broader color blotches that look like paint strokes. “A lot of controls were added to be able to add color hues not just to our normal color maps for hair, but also for clumps or sub-clumps. “For the newer characters like Perrito and the Bears we wanted to push those clumps, and how the hair looked in the silhouette edges made it feel more stylized,” Edwards remarks. The biggest balancing act was trying to make sure we could push far and go abstract, but it needed to have the right detail level to match the characters.”įor the grooms of characters, DreamWorks Animation utilized a proprietary tool called Willow. A secondary challenge with that was bringing the environment to them, because it’s easy to do one treatment on the characters and another on the environment and they don’t relate, and all of a sudden you have this character that doesn’t fit in the world. For story points, we needed detailed fur-like hair standing on ends, but then we also wanted to simplify it in a lot of ways. Then it was trying to figure out the stylization in the fur. “In the first scene of Shrek 2, Puss in Boots had a cape for minute and then threw it away because capes are hard! We wanted to have a lot of fun with the cape and a bigger feather. “He is an established iconic character, so we wanted to maintain a lot of that, but there were some elements we wanted to push and update like his costume,” states Visual Effects Supervisor Mark Edwards. Top priority was figuring out the look of Puss in Boots.
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