I then exchanged with Marcin about his technique and I started writing a prototype software for a lighting tool based on Houdoo’s technologies and his method.
So I modified it a bit to show them how it could speed up light and shadow animation. I’d been working on a 2d animation software called Houdoo for about ten years, and I had a very effective inbetweening and tracking system. We showcased our animation and rendering technology to Sergio Pablos, and demonstrated how we were able to add brushstrokes and textures to 2d characters in a semi-automatic way.Ī couple of years later, during pre-production, we heard from SPA that it was very challenging to apply light and shadow in production.
They sent us a few 2d animated shots, lit by Marcin Jakubowski with a new method he’d created. Anaël SeghezziĪnaël Seghezzi: Around 2014, we were contacted by SPA Studios to do some tests for a new project they were developing. It was good enough as a proof of concept, but we wanted to improve the accessibility and efficiency. We managed to make the whole teaser in 2015 using that system. After a couple of weeks, we had created the prototype using Nuke. I knew exactly what kind of features I was looking for. I’m not a programmer, so I wanted to build a prototype using existing software. I wanted to paint directly with light, without any extra layer between the artist and the final result. That’s why I discarded all the automatic solutions that used a computer-generated light on 3d geometry. Marcin Jakubowski: From the very beginning it was clear to me that if something was supposed to look hand-painted, it had to be made by hand. Their comments are taken from longer answers sent by email. They speak about the challenges of producing a major 2d feature today, and shed light on their approach to lighting - which, when you strip away the snazzy technology, is essentially what artists have been doing for centuries. So Cartoon Brew decided to put some questions to Szymon Biernacki and Marcin Jakubowski, the film’s production designers, as well as Anaël Seghezzi, who helped develop the lighting and texturing tools at his company Les Films Du Poisson Rouge, in Angoulême, France.īelow, the trio walk us through key stages in the making of the film. Now that the film is out theatrically (and launching on Netflix tomorrow), much is being made of its visuals - but little has been said about how they were actually achieved.
#Traditional animation light box update#
As the U.S.’s 2d animation industry collapsed, he returned to his native Spain, where he founded SPA Studios and set about trying to update the medium for a new generation. This approach is in keeping with director Sergio Pablos’s stated ambition: “I’m not trying to bring traditional animation back, I’m trying to bring it forward.” Well known as the co-creator of the Despicable Me franchise, Pablos cut his teeth as a Disney animator in the studio’s 1990s heyday. Yet this is no ordinary hand-drawn animation: Klaus deploys cutting-edge lighting and texturing tools to redefine the look of the medium. company (Netflix) - sets it apart in an age of 3d dominance. Firstly, the very fact that it’s a work of 2d animation - backed by a major U.S. Confusion was forgivable: the characters had the volume, the polished sheen, normally associated with cgi.Īlmost five years later, the film’s visual style is still striking, for two contrasting reasons. If it can continue to provide for artists seeking to better themselves and make their mark on the world, then the future is looking bright.When Cartoon Brew premiered the first teaser for Klaus back in 2015, we had to clarify that it was hand-drawn. It was a successful first year for Lightbox Expo, offering many opportunities for artists looking to make their way into the vast number of industries in visual art. Organizations and guilds such as Women in Animation, ASIFA-Hollywood, and The Animation Guild, and Studios including Disney Television Animation, Netflix, Dreamworks, and Sony Pictures Animation also had a presence at the convention, meeting with artists and giving a look into what it is to work with them and offering applications. Portfolio reviews, panels on the ins-and-outs of the industry, art demos, and even an opportunity to participate in a lifedrawing session with a live wolf! Lightbox Expo provided much for artists looking to break into the industry. In addition, the exhibition hall also had booths selling art books, supplies, and kiosks demoing illustration and animation software. EVENTOS Locales – Semana de 18 de noviembre, 2021Īttendees had a chance to meet and purchase art from a vast array of top artists in the industry offering prints, zines, sculptures, and original art.
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