Next week I’m heading to Europe for a couple of conferences: FMX (Stuttgart) where Jan Pinkava will be giving twotalks about our work at Spotlight Stories, and Expressive (Genoa) where I’m presenting a paper about our look development work for Age of Sail:Non-Photorealistic Animation for Immersive Storytelling. I’m beyond excited to meet up with old colleagues and new ones, learn about the latest graphics techniques, mangle two foreign languages, and explore some cities I’ve never been to before. If you’ll be at either of these events, let me know!
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 Pearland 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!
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.)
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.