“I got to work with Titmouse, and they’re an amazing studio with a wide variety of different styles. ![]() ![]() They were good fun at the time, and the story by Justin Coates had that feel to it, so that’s where that came from.” Handling the animation was the studio responsible for The Boys Presents: Diabolical and The Legend of Vox Machina. “For ‘Kill Team Kill,’” she says, “my inspiration was cartoons from the 1990s and action movies from that time, like Predator, Commando, and G.I. When it comes to her own short, where a squad of soldiers in Afghanistan encounter a CIA experiment gone horribly wrong, Nelson decided to channel a fondness for a particular cinematic era that made action icons out of Arnold Schwarzenegger, Sylvester Stallone, Bruce Willis and Jean-Claude Van Damme. I feel like that I’ve been waiting for it a while, but now it’s here.” Game engine technology is super freaking exciting. ![]() You see a lot of interesting artists doing great things by themselves or with small teams. Now guys can do minutes-long shorts in their basements at home and you can see it on the web. Even lots of cheap PCs are still expensive and need some technical infrastructure. I thought that was amazing, but game engine technology is going to be a paradigm shift again. “Then desktop technology and software came along and it democratized the process, which allowed us to start Blur borrowing $20,000. “I’m so old that I was on the cusp of the desktop revolution, and it used to be when I started in the business you had to have a lot of money to be able to do 3D animation,” recalls Miller. It’s not baked into things like it is usually.” The impact of game engines like Unreal and Unity cannot be ignored. You are able to express an entire world, adjust things in real-time and change the light if you want. When 3D animation came out, it allowed us to do certain things that we couldn’t do in 2D animation. “It’s the look and how much you can deal with certain levels of complexity. “I don’t know if it’s types of stories that it has affected,” she explains. 2 is Jennifer Yuh Nelson ( Kung Fu Panda 2 & 3), who worked with a mixture of new and veteran collaborators as well as making her own contribution with the muscle-flexing action adventure “Kill Time Kill.” Notable first-time participants are David Fincher making his animation directorial debut with the monstrous seafaring tale “Bad Travelling ” and Patrick Osborne helms the macabre-funny, post-apocalyptic sequel “Three Robots: Exit Strategies.” Returnees include visual effects veteran Jerome Chen helming “In Vaulted Halls Entombed,” where a special forces team encounters an ancient evil, and Oscar-winner Alberto Mielgo envisioning a fatal romance between a deaf Renaissance knight and a lethal siren in “Jibaro.” Inventive animation styles are found in “Night of the Mini Dead,” which uses tilt-shift photography to make everything look tiny, Mobius and psychedelic-flavored “The Very Pulse of the Machine,” and in the painterly impressionism of “Jibaro.”Īs to whether real-time technology and game engines are impacting the type of stories being told, Nelson does not believe this to be the case. Returning as the supervising director from her previous outing on Vol.
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