My process for Spider-Verse began with first imagining what the world would look like from the point of view of a character that lived inside of a comic book. I imagined that when Miles Morales looked around, he would see all the details of comic-book illustration - things like screen tones, hatching, flat color, linework, printing offsets, graphic shadows, and Ben-Day dots everywhere in the space that surrounds him. As I worked through it, I began to realize that as far as Miles can see, the world he lives in looks like a dimensional illustration. The greatest challenge on the film was simply creating the look of Miles’s world. So, it was actually the most fun I’ve ever had making a film. Thompson, production designer at Sony Pictures Animation: I’ve always been drawn towards projects with the highest number of creative challenges that anyone can offer me, and Spider-Verse had far more any other project I’ve ever done. Spider-Man: Into the Spider-Verse (2018), the Ben-Day dots
Take everything you can as soon as you can.” And then you have Justin saying “With knowledge comes responsibility.” So the two were battling it out - over a philosophy. Jenner was saying, “Let’s go on stealing electricity from the farmer. And even while they’re fighting, what are they fighting about? Both sides of the equation were there in that moment. Now, it’s easy to watch it, but to analyze it and be able to say what’s going on? That’s something else. And I went to films where people were in combat.
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So I had to work hard and get up off the chair for someone to show me how to do it - how to establish the fight. That was hard for me, because I know nothing about combat, with swords and sticks and all that kind of thing.
Justin fightĭon Bluth, writer-director: In The Secret of NIMH, I animated the fight between Jenner and Justin. Have an animation story to share? Let us know at The Secret of NIMH (1982), Jenner vs. Here are those creators on their hardest gigs in animation yet. The main takeaway: The work might be boundary-breaking, but it’s definitely not magic. Solen is one of the many animators, directors, producers, production designers, storyboard artists, lighting artists, and supervisors who spoke with Vulture over the last several months about the difficulties of animation - imagining it, writing it, making it move. You’re combining things that you’d never think could be combined … we physically have to break down our preconceived notions of how stuff actually works in the world.” It’s impossible in a way that feels like you’re working within another dimension. “But you can do things with animation that you couldn’t do with any other media. “Animation is very hard to do,” says Cat Solen, the director behind Shivering Truths on Adult Swim. The enchantment both obscures and emphasizes a truth about the filmmaking technique: Animation, at every stage, is incredibly difficult. Disney’s identity for nearly a century was predicated on the magic of moving pictures onscreen. Fleishman Studios’ Out of the Inkwell cartoons in the 1910s and ’ 20s solidified the image of the cartoon miraculously coming to life on the drawing board. Early experimental works passed off thousands of hand-drawn stills as party tricks. It has been expanded and republished for our “ The 100 Sequences That Shaped Animation ” package.Īnimation has always been more effective than most art forms at convincing viewers of its own magic. This story originally ran on November 13, 2019. Photo-Illustration: Vulture, Universal Pictures, Netflix and Twentieth Century Fox