It’s not every week you have to fly down to LA twice, but what a great reason to do it. “Age of Sail” was nominated in a bunch of categories, and won Outstanding Production Design at the Annie Awards, and Outstanding Visual Effects in a Real-Time Project at the VES Awards. I’m so grateful to have worked with this amazing team of artists, and and so proud of what we’ve accomplished together!
Way back in 1999, I had the pleasure of contributing a segment to a SIGGRAPH course on non-photorealistic rendering. By that point I had made a whopping two-and-a-half animated short films with different visual styles (Brick-a-Brac, Fishing, and a never-finished The New Chair) which in those innocent times made me an authority on the subject. So I threw together a loose framework based on what I’d learned from those experiences, and built my piece of the course around that.
I went back and re-read it the other day, and was surprised to find a lot of it still holds true. In particular, one lesson that we carried through in both Pearl and Age of Sail is that if you plan ahead and you’re smart about it, committing to a stylized look can also save you a lot of time and money.
So if you’re interested in making a film with a new visual style, but you just don’t know where to start, have a look!
I’m talking about “Spider-Man: Into the Spider-Verse” of course. I’ve seen it twice on the big screen, and already want to see it again. (If you still haven’t seen it, you are missing a major milestone in film history. Get off your tuchis and go to the movies already!)
There’s a moment in the film when our newly super-empowered Afro-Latino hero Miles Morales and the original Spider-Man Peter Parker meet for the first time. Their spidey-senses activate, and suddenly they both realize what they have in common. “You’re like me!” That moment of recognition, beyond its first purpose of conveying the powerful “anyone can wear the mask” message of inclusion, hit me personally on a whole different level. I found myself looking through the screen, senses buzzing, at the amazing team of artists and technologists who made it, people who really get it: the idea that when you take the art seriously, when you use every step of the process to amplify that artistic voice instead of sanding off its rough edges, when you’re willing to break the pipeline and challenge “how it’s usually done”, that’s when you can make something special, unique, and meaningful. This movie is a triumph, and every single person involved in making it should be incredibly proud. I see what you did, I know exactly how hard it was to do it, and I see you.
I can’t wait to watch this a few more times to soak in all the details– the smear frames, the animation on twos, the silhouette lines and suggestive contours, the halftones and Kirby dots, the CMYK misprints, the world-class acting choices, the strong poses, the colors and lighting, that crazy Sinkiewicz flashback, all of it.
I also hope this marks a turning point for the animation industry. Listen to your artists. Trust them. Let their work shine on the big screen the way they meant it to look. And don’t let anyone tell you what “can’t be done” with the look of your film. The non-photorealistic rendering community has been building the technology to do this, literally, for decades. Let’s use it!
Wow, it’s been a busy few weeks since we launched “Age of Sail“! Hard to keep track of all the news, but here are a few highlights…
It’s been nominated for four Annie Awards…
For the first time, the Annie Awards will honor animated VR productions. Vying for the prize are “Age of Sail” by Google Spotlight Stories and Broadreach Pictures; AtlasV’s “BattleScar”; “Crow: The Legend” by Baobab Studios; “MindPalace” by Filmakademie Baden-Württemberg GmbH; and Polyarc’s “Moss.”
In addition to the VR bid, Google Spotlight Stories’ “Age of Sail” came away with three other nominations, including character animation in an animated TV/broadcast production (Sikand Srinivas); character design in an animated TV/broadcast production (Bruno Mangyoku); and production design in an animated TV/broadcast production (Celine Desrumaux and Jasmin Lai).
Gnomon released the video of the making-of talk that John Kahrs and I did. (John’s part is not to be missed: a life lesson in thoughtful, personal filmmaking.)
Still reading? Really? Well, here’s some other nice press, about both VR and cinematic cuts:
- Google releases gorgeous VR short film ‘Age of Sail’ (Engadget)
- A Powerful & Emotional VR Experience (RoadToVR)
- New AR/VR Worth Watching (Variety)
- Watch: John Kahrs’ Acclaimed Short ‘Age of Sail’ (Animation Magazine)
- Short Pick of the Day (Cartoon Brew)
- Vimeo Staff Pick (Vimeo)
- Interview with John Kahrs (Animation Scoop)
- Worth The Sea Sickness (UploadVR)
“Age of Sail” was directed by John Kahrs, and produced at Chromosphere, Evil Eye Pictures, and Google Spotlight Stories. Working on this story, with this crew, has been an unforgettable experience. I’ll have lots more to say about it in future posts, but for now: enjoy the show!
This just in: I’m coming up to Vancouver this weekend for the Vancouver International Film Festival’s “VIFF Immersed” event. We’re showing Age of Sail (a Canadian premiere!) and Back to the Moon in VR. I’ll also be doing a talk about both projects in the “New Realities in Storytelling” conference, Saturday September 29th from 3:30-4:15 in the Reliance Theatre at Emily Carr University. Looks like there’ll be lots of other interesting VR-related talks happening all weekend! Here’s the full conference program. The VR exhibition will be running from Sunday to Tuesday in the “Hangar” building at the Centre for Digital Media. Tickets are available here.
But who’s that guy with the beard, and why does he keep blocking the screen?
I’m off to Annecy for another week packed solid with VR demos, film screenings and talks with the Google Spotlight Stories crew! I’ll be on a panel called “VR: the New Animation Playground” on Wednesday at 11am. We’ll be showing four projects at the Bonlieu Salle de Création: “Isle of Dogs: Behind the Scenes in VR” (Wes Anderson, with Felix & Paul Studios), “Piggy” (Jan Pinkava and Mark Oftedal), “Back to the Moon” (FX Goby and Hélène Leroux, with Nexus and the Google Doodles team) and also a sneak peek of the story I’m working on right now, “Age of Sail” (directed by John Kahrs, in collaboration with Chromosphere). The creators will also be doing a panel Wednesday at 6pm: “Animation Everywhere!”
If you’re on that side of the planet, come hang out! (But bring an umbrella, I hear it’s gonna be raining all week!)
One of the highlights of my time at DreamWorks was getting to help an amazing team of animators design their next-generation animation software, Premo. The software we’d been using up to that point, Emo, was originally written at PDI in the 1980’s. While a lot of talented engineers had improved it over the years, there was only so much they could build on top of a foundation so old that it predated the GPU! We often dreamed about what the ideal animation tool would be like, if we could somehow start again from scratch.
Incredibly, in 2008, we got the opportunity to do exactly that, and the idea for Premo was born. Rex Grignon led the design effort, and brought on Jason Schleifer, Fred Nilsson, Jason Reisig, Simon Otto, Dave Torres and myself to flesh out the zillions of tiny details that matter so much. We worked closely with engineers Bruce Wilson, Seath Ahrens, Morgwn Mccarty, Brendan Duncan and many others (see this article for the full list!) as they brought their own expertise to bear on all those tiny details, and turned our fluffy wishful ideas into real working code. After years of development, the animators on How to Train Your Dragon 2 got to take Premo for its inaugural flight, and were spoiled forever by the best software any of us had ever seen. We knew we had something very special on our hands, but I wondered: would anyone outside the company ever know about it?
Now, a decade later, the Academy of Motion Picture Arts and Sciences has honored Premo with a Sci-Tech Award!
Here’s a video of the awards ceremony, with Sir Patrick Stewart introducing some of the team:
And here’s a terrific blog post from Nimble Collective (the company that Rex, Jason and Bruce went on to co-found after DreamWorks) about FIFICRD, our shamelessly awkward acronym for our fiercely held beliefs about how great software can and should be:
I’m beyond proud to see this enormous group effort get the recognition it deserves. Go Premo! FIFICRD FOREVER!
I can’t believe the Annecy Animation Festival is less than a week away! And man, it’s going to be a busy week. Most days you’ll be able to find me in the Bonlieu Salle de Création: Tuesday, June 13 (showing Gorillaz “Saturnz Barz” on Daydream), Thursday June 15 (showing a VR teaser for Jorge Gutierrez’s Son of Jaguar on Vive) and Friday June 16 (showing Sonaria by Scot Stafford and Chromosphere, also on Vive). Stop by and say hi if you’re there!