![]() ![]() We made some not-so obvious topiaries of Tweedledum and Tweedledee, the White Rabbit and the Queen of Hearts. Will you treat us to some Easter Eggs we can be on the lookout for? Get them on board early with the creative and then you’re free to execute. Being indecisive will leave you with something that looks like a mish-mash at the end of the job. Be strong and stick to what you know will look good given the time you have. With this being the most aggressive timeline you’ve worked with, what words of wisdom can you offer regarding ‘efficiency.’ Getting a motion-controlled camera was a real treat because it meant that this got shot correctly. It’s so unique looking, I’ve never seen anything quite like this. You always want to do more but given the time constraints, it was a massive achievement. Being indecisive will leave you with something that looks like a mish-mash at the end of the job."ĭid the end result turn out as you’d hoped? "Be strong and stick to what you know will look good given the time you have. With this particular one being loosely tied into the movie, the creative was done by Dave Meyers and Todd Sarsfield, and then it was brought to us. There’s absolutely a lower budget but because they want something that stands out, they give you creative freedom in exchange. How do music videos differ from film projects? The trees were changed multiple times and were finalized on the very last day when we delivered, which was cutting it pretty close. The surprises mainly came through creative feedback. I could kick off a render in the morning, turn around and it was done. But it turned out that everything worked extremely well and I was so pleased with how solid and reliable all the software was. Reliability was initially a huge concern for me because if something went wrong, I couldn’t just paint it to fix it because the shot was seamless and always moving. Was there anything that surprised you during the course of this project? Much of that I worried might be impossible but we had an excellent team of Flame artists, expert finishers, to key it off. Being a half-transparent kind of material, it made things extremely interesting. Also, the costume designer really went to town in order to make everything incredible – and that meant lots of tulle. On set, they actually didn’t have the correct colors on the costumes so they had to be adjusted from black to white, red to white, or red to black. What was the biggest challenge presented? Also, I love a good challenge, breaking things down, problem solving. I love to do environments and matte paintings – that’s what I do on feature films. Anything below 20 minutes is what I normally aim for but using these instancing efficiencies made it super quick. I was very concerned about rendering time but we actually got them down to 7 minutes per frame with the full foliage. I hoped that no-one would notice (laughs). I used 8 different Maya objects – which Arnold is very efficient in rendering – and repurposed those assets time and time again until the garden was complete. Too many layers of technology, especially in a short time frame, can go mortally wrong.Īnd how did you manage to create that entire garden in just 5 days? I wanted everything to be as clean as possible. It was mainly out of box as the models are very simple. "I used 8 different Maya objects – which Arnold is very efficient in rendering – and repurposed those assets time and time again until the garden was complete." It was meticulously choreographed by Dave and Todd up front so that we could get maximum impact with the camera. They wanted a documentary-style feel with the camera naturally ‘finding’ the characters even when, of course, it would be motion controlled. We reviewed the green screen, saw a nice rough comp of all the characters – they did testing with stand-ins to make sure the camera wouldn’t hit anyone or knock Pink out (laughs) – and we went from there. I got to see the concepts a few days before the shoot so I had an idea of how it would go. ![]()
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