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Module 6 -GUIDE.pdf - Module 6: Hybrid Animation – GUIDE...

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Module 6: Hybrid AnimationGUIDESub-topic 1KLAUSKlaus is a 2D animation backed by NetflixAlmost five years later, the film’s visual style is still striking, for two contrasting reasons. Firstly, the very fact thatit’s a work of 2danimationbacked by a major U.S. company (Netflix)sets it apart in an age of 3ddominance. Yet this is no ordinary hand-drawn animation:Klausdeploys cutting-edge lighting and texturing toolsto redefine the look of the medium.
Toon Boom HarmonyEverything from storyboarding through to ink and paint was all based on the Toon Boom pipeline.It is a paperless software. Everything is Hand-drawn on the computer and not on paper.They have the whole team from Lay-out, animation, clean-up, inbetweening to painting department, just like theold days.Most of the times outlines cannot be seen, it really wants to capture the life-like effect of lines.
The Lighting ProcessThe lighting process was essentially about breaking down the lighting of a scene in a convincing way, the sameway that concept artists do every day. They have introduced up to eight layers of lighting, it could be anythingfrom ambient occlusion, sub-surface scattering, rim light, specular for the eyes, bounce light, etc.Each one of those layers would have a set of shapes that the artist would create underneath the layer for theshot. They will go through whatever number of layers they had using a tracking system that was part of the toolthat Les Films Du Poisson Rouge brought to theplate. Then they merge them to get the ‘baked’ lighting look.After lighting, there’s another step which is call ‘texturing’. But it’s not the texturing you know from 3D. It’sanother tool from Les Films Du Poisson Rouge and it’s called M.O.E. It allows you to pick any painterly style likewash, watercolor or oil, and decide the behavior and size of the strokes and apply it to the image. We just wanteda certain level of grain because that’s the same style as the background. It’s very subtle –you almost have tosquint your eyes to see it. What it does is, this grain actually travels with the character.CompositingThen all those elements go to compositing. Compositor decides how much of the texture will be apply to each ofthe shapes. Because there’s not the same level of texture for the skin etc, the comp’ers can control that and theycan decide what works for each shot.M.O.E. and HOODOOM.O.E. AND HOUDOO ARE TWO ANIMATION SOFTWARES CREATED AND DEVELOPEDBY ANAËL SEGHEZZI IN HOUSE AT LES FILMS DU POISSON ROUGE.These are the software use for Klaus.M.O.E. is an expressive rendererHOODOO is for the 2d animationM.O.E.
A graphic process on dedicated area with brush and texturesWith the help of dedicated and customised brushes and textures M.O.E. allows an automatization of complexesgraphic treatment on animated defined areas from 2D, 3D animation or live action sources. Those brushes andpatterns are able to follow the animation of the animated shapes.

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Term
Spring
Professor
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Tags
Klaus, Disney Enterprises Inc, Les Films Du Poisson Rouge

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