• HOW DISGUISE BUILT OUT THE VIRTUAL ENVIRONMENTS FOR A MINECRAFT MOVIE

    By TREVOR HOGG

    Images courtesy of Warner Bros. Pictures.

    Rather than a world constructed around photorealistic pixels, a video game created by Markus Persson has taken the boxier 3D voxel route, which has become its signature aesthetic, and sparked an international phenomenon that finally gets adapted into a feature with the release of A Minecraft Movie. Brought onboard to help filmmaker Jared Hess in creating the environments that the cast of Jason Momoa, Jack Black, Sebastian Hansen, Emma Myers and Danielle Brooks find themselves inhabiting was Disguise under the direction of Production VFX Supervisor Dan Lemmon.

    “s the Senior Unreal Artist within the Virtual Art Departmenton Minecraft, I experienced the full creative workflow. What stood out most was how deeply the VAD was embedded across every stage of production. We weren’t working in isolation. From the production designer and director to the VFX supervisor and DP, the VAD became a hub for collaboration.”
    —Talia Finlayson, Creative Technologist, Disguise

    Interior and exterior environments had to be created, such as the shop owned by Steve.

    “Prior to working on A Minecraft Movie, I held more technical roles, like serving as the Virtual Production LED Volume Operator on a project for Apple TV+ and Paramount Pictures,” notes Talia Finlayson, Creative Technologist for Disguise. “But as the Senior Unreal Artist within the Virtual Art Departmenton Minecraft, I experienced the full creative workflow. What stood out most was how deeply the VAD was embedded across every stage of production. We weren’t working in isolation. From the production designer and director to the VFX supervisor and DP, the VAD became a hub for collaboration.” The project provided new opportunities. “I’ve always loved the physicality of working with an LED volume, both for the immersion it provides and the way that seeing the environment helps shape an actor’s performance,” notes Laura Bell, Creative Technologist for Disguise. “But for A Minecraft Movie, we used Simulcam instead, and it was an incredible experience to live-composite an entire Minecraft world in real-time, especially with nothing on set but blue curtains.”

    Set designs originally created by the art department in Rhinoceros 3D were transformed into fully navigable 3D environments within Unreal Engine. “These scenes were far more than visualizations,” Finlayson remarks. “They were interactive tools used throughout the production pipeline. We would ingest 3D models and concept art, clean and optimize geometry using tools like Blender, Cinema 4D or Maya, then build out the world in Unreal Engine. This included applying materials, lighting and extending environments. These Unreal scenes we created were vital tools across the production and were used for a variety of purposes such as enabling the director to explore shot compositions, block scenes and experiment with camera movement in a virtual space, as well as passing along Unreal Engine scenes to the visual effects vendors so they could align their digital environments and set extensions with the approved production layouts.”

    A virtual exploration of Steve’s shop in Midport Village.

    Certain elements have to be kept in mind when constructing virtual environments. “When building virtual environments, you need to consider what can actually be built, how actors and cameras will move through the space, and what’s safe and practical on set,” Bell observes. “Outside the areas where strict accuracy is required, you want the environments to blend naturally with the original designs from the art department and support the story, creating a space that feels right for the scene, guides the audience’s eye and sets the right tone. Things like composition, lighting and small environmental details can be really fun to work on, but also serve as beautiful additions to help enrich a story.”

    “I’ve always loved the physicality of working with an LED volume, both for the immersion it provides and the way that seeing the environment helps shape an actor’s performance. But for A Minecraft Movie, we used Simulcam instead, and it was an incredible experience to live-composite an entire Minecraft world in real-time, especially with nothing on set but blue curtains.”
    —Laura Bell, Creative Technologist, Disguise

    Among the buildings that had to be created for Midport Village was Steve’sLava Chicken Shack.

    Concept art was provided that served as visual touchstones. “We received concept art provided by the amazing team of concept artists,” Finlayson states. “Not only did they send us 2D artwork, but they often shared the 3D models they used to create those visuals. These models were incredibly helpful as starting points when building out the virtual environments in Unreal Engine; they gave us a clear sense of composition and design intent. Storyboards were also a key part of the process and were constantly being updated as the project evolved. Having access to the latest versions allowed us to tailor the virtual environments to match camera angles, story beats and staging. Sometimes we would also help the storyboard artists by sending through images of the Unreal Engine worlds to help them geographically position themselves in the worlds and aid in their storyboarding.” At times, the video game assets came in handy. “Exteriors often involved large-scale landscapes and stylized architectural elements, which had to feel true to the Minecraft world,” Finlayson explains. “In some cases, we brought in geometry from the game itself to help quickly block out areas. For example, we did this for the Elytra Flight Chase sequence, which takes place through a large canyon.”

    Flexibility was critical. “A key technical challenge we faced was ensuring that the Unreal levels were built in a way that allowed for fast and flexible iteration,” Finlayson remarks. “Since our environments were constantly being reviewed by the director, production designer, DP and VFX supervisor, we needed to be able to respond quickly to feedback, sometimes live during a review session. To support this, we had to keep our scenes modular and well-organized; that meant breaking environments down into manageable components and maintaining clean naming conventions. By setting up the levels this way, we could make layout changes, swap assets or adjust lighting on the fly without breaking the scene or slowing down the process.” Production schedules influence the workflows, pipelines and techniques. “No two projects will ever feel exactly the same,” Bell notes. “For example, Pat Younisadapted his typical VR setup to allow scene reviews using a PS5 controller, which made it much more comfortable and accessible for the director. On a more technical side, because everything was cubes and voxels, my Blender workflow ended up being way heavier on the re-mesh modifier than usual, definitely not something I’ll run into again anytime soon!”

    A virtual study and final still of the cast members standing outside of the Lava Chicken Shack.

    “We received concept art provided by the amazing team of concept artists. Not only did they send us 2D artwork, but they often shared the 3D models they used to create those visuals. These models were incredibly helpful as starting points when building out the virtual environments in Unreal Engine; they gave us a clear sense of composition and design intent. Storyboards were also a key part of the process and were constantly being updated as the project evolved. Having access to the latest versions allowed us to tailor the virtual environments to match camera angles, story beats and staging.”
    —Talia Finlayson, Creative Technologist, Disguise

    The design and composition of virtual environments tended to remain consistent throughout principal photography. “The only major design change I can recall was the removal of a second story from a building in Midport Village to allow the camera crane to get a clear shot of the chicken perched above Steve’s lava chicken shack,” Finlayson remarks. “I would agree that Midport Village likely went through the most iterations,” Bell responds. “The archway, in particular, became a visual anchor across different levels. We often placed it off in the distance to help orient both ourselves and the audience and show how far the characters had traveled. I remember rebuilding the stairs leading up to the rampart five or six times, using different configurations based on the physically constructed stairs. This was because there were storyboarded sequences of the film’s characters, Henry, Steve and Garrett, being chased by piglins, and the action needed to match what could be achieved practically on set.”

    Virtually conceptualizing the layout of Midport Village.

    Complex virtual environments were constructed for the final battle and the various forest scenes throughout the movie. “What made these particularly challenging was the way physical set pieces were repurposed and repositioned to serve multiple scenes and locations within the story,” Finlayson reveals. “The same built elements had to appear in different parts of the world, so we had to carefully adjust the virtual environments to accommodate those different positions.” Bell is in agreement with her colleague. “The forest scenes were some of the more complex environments to manage. It could get tricky, particularly when the filming schedule shifted. There was one day on set where the order of shots changed unexpectedly, and because the physical sets looked so similar, I initially loaded a different perspective than planned. Fortunately, thanks to our workflow, Lindsay Georgeand I were able to quickly open the recorded sequence in Unreal Engine and swap out the correct virtual environment for the live composite without any disruption to the shoot.”

    An example of the virtual and final version of the Woodland Mansion.

    “Midport Village likely went through the most iterations. The archway, in particular, became a visual anchor across different levels. We often placed it off in the distance to help orient both ourselves and the audience and show how far the characters had traveled.”
    —Laura Bell, Creative Technologist, Disguise

    Extensive detail was given to the center of the sets where the main action unfolds. “For these areas, we received prop layouts from the prop department to ensure accurate placement and alignment with the physical builds,” Finlayson explains. “These central environments were used heavily for storyboarding, blocking and department reviews, so precision was essential. As we moved further out from the practical set, the environments became more about blocking and spatial context rather than fine detail. We worked closely with Production Designer Grant Major to get approval on these extended environments, making sure they aligned with the overall visual direction. We also used creatures and crowd stand-ins provided by the visual effects team. These gave a great sense of scale and placement during early planning stages and allowed other departments to better understand how these elements would be integrated into the scenes.”

    Cast members Sebastian Hansen, Danielle Brooks and Emma Myers stand in front of the Earth Portal Plateau environment.

    Doing a virtual scale study of the Mountainside.

    Practical requirements like camera moves, stunt choreography and crane setups had an impact on the creation of virtual environments. “Sometimes we would adjust layouts slightly to open up areas for tracking shots or rework spaces to accommodate key action beats, all while keeping the environment feeling cohesive and true to the Minecraft world,” Bell states. “Simulcam bridged the physical and virtual worlds on set, overlaying Unreal Engine environments onto live-action scenes in real-time, giving the director, DP and other department heads a fully-realized preview of shots and enabling precise, informed decisions during production. It also recorded critical production data like camera movement paths, which was handed over to the post-production team to give them the exact tracks they needed, streamlining the visual effects pipeline.”

    Piglots cause mayhem during the Wingsuit Chase.

    Virtual versions of the exterior and interior of the Safe House located in the Enchanted Woods.

    “One of the biggest challenges for me was managing constant iteration while keeping our environments clean, organized and easy to update,” Finlayson notes. “Because the virtual sets were reviewed regularly by the director and other heads of departments, feedback was often implemented live in the room. This meant the environments had to be flexible. But overall, this was an amazing project to work on, and I am so grateful for the incredible VAD team I was a part of – Heide Nichols, Pat Younis, Jake Tuckand Laura. Everyone on this team worked so collaboratively, seamlessly and in such a supportive way that I never felt like I was out of my depth.” There was another challenge that is more to do with familiarity. “Having a VAD on a film is still a relatively new process in production,” Bell states. “There were moments where other departments were still learning what we did and how to best work with us. That said, the response was overwhelmingly positive. I remember being on set at the Simulcam station and seeing how excited people were to look at the virtual environments as they walked by, often stopping for a chat and a virtual tour. Instead of seeing just a huge blue curtain, they were stoked to see something Minecraft and could get a better sense of what they were actually shooting.”
    #how #disguise #built #out #virtual
    HOW DISGUISE BUILT OUT THE VIRTUAL ENVIRONMENTS FOR A MINECRAFT MOVIE
    By TREVOR HOGG Images courtesy of Warner Bros. Pictures. Rather than a world constructed around photorealistic pixels, a video game created by Markus Persson has taken the boxier 3D voxel route, which has become its signature aesthetic, and sparked an international phenomenon that finally gets adapted into a feature with the release of A Minecraft Movie. Brought onboard to help filmmaker Jared Hess in creating the environments that the cast of Jason Momoa, Jack Black, Sebastian Hansen, Emma Myers and Danielle Brooks find themselves inhabiting was Disguise under the direction of Production VFX Supervisor Dan Lemmon. “s the Senior Unreal Artist within the Virtual Art Departmenton Minecraft, I experienced the full creative workflow. What stood out most was how deeply the VAD was embedded across every stage of production. We weren’t working in isolation. From the production designer and director to the VFX supervisor and DP, the VAD became a hub for collaboration.” —Talia Finlayson, Creative Technologist, Disguise Interior and exterior environments had to be created, such as the shop owned by Steve. “Prior to working on A Minecraft Movie, I held more technical roles, like serving as the Virtual Production LED Volume Operator on a project for Apple TV+ and Paramount Pictures,” notes Talia Finlayson, Creative Technologist for Disguise. “But as the Senior Unreal Artist within the Virtual Art Departmenton Minecraft, I experienced the full creative workflow. What stood out most was how deeply the VAD was embedded across every stage of production. We weren’t working in isolation. From the production designer and director to the VFX supervisor and DP, the VAD became a hub for collaboration.” The project provided new opportunities. “I’ve always loved the physicality of working with an LED volume, both for the immersion it provides and the way that seeing the environment helps shape an actor’s performance,” notes Laura Bell, Creative Technologist for Disguise. “But for A Minecraft Movie, we used Simulcam instead, and it was an incredible experience to live-composite an entire Minecraft world in real-time, especially with nothing on set but blue curtains.” Set designs originally created by the art department in Rhinoceros 3D were transformed into fully navigable 3D environments within Unreal Engine. “These scenes were far more than visualizations,” Finlayson remarks. “They were interactive tools used throughout the production pipeline. We would ingest 3D models and concept art, clean and optimize geometry using tools like Blender, Cinema 4D or Maya, then build out the world in Unreal Engine. This included applying materials, lighting and extending environments. These Unreal scenes we created were vital tools across the production and were used for a variety of purposes such as enabling the director to explore shot compositions, block scenes and experiment with camera movement in a virtual space, as well as passing along Unreal Engine scenes to the visual effects vendors so they could align their digital environments and set extensions with the approved production layouts.” A virtual exploration of Steve’s shop in Midport Village. Certain elements have to be kept in mind when constructing virtual environments. “When building virtual environments, you need to consider what can actually be built, how actors and cameras will move through the space, and what’s safe and practical on set,” Bell observes. “Outside the areas where strict accuracy is required, you want the environments to blend naturally with the original designs from the art department and support the story, creating a space that feels right for the scene, guides the audience’s eye and sets the right tone. Things like composition, lighting and small environmental details can be really fun to work on, but also serve as beautiful additions to help enrich a story.” “I’ve always loved the physicality of working with an LED volume, both for the immersion it provides and the way that seeing the environment helps shape an actor’s performance. But for A Minecraft Movie, we used Simulcam instead, and it was an incredible experience to live-composite an entire Minecraft world in real-time, especially with nothing on set but blue curtains.” —Laura Bell, Creative Technologist, Disguise Among the buildings that had to be created for Midport Village was Steve’sLava Chicken Shack. Concept art was provided that served as visual touchstones. “We received concept art provided by the amazing team of concept artists,” Finlayson states. “Not only did they send us 2D artwork, but they often shared the 3D models they used to create those visuals. These models were incredibly helpful as starting points when building out the virtual environments in Unreal Engine; they gave us a clear sense of composition and design intent. Storyboards were also a key part of the process and were constantly being updated as the project evolved. Having access to the latest versions allowed us to tailor the virtual environments to match camera angles, story beats and staging. Sometimes we would also help the storyboard artists by sending through images of the Unreal Engine worlds to help them geographically position themselves in the worlds and aid in their storyboarding.” At times, the video game assets came in handy. “Exteriors often involved large-scale landscapes and stylized architectural elements, which had to feel true to the Minecraft world,” Finlayson explains. “In some cases, we brought in geometry from the game itself to help quickly block out areas. For example, we did this for the Elytra Flight Chase sequence, which takes place through a large canyon.” Flexibility was critical. “A key technical challenge we faced was ensuring that the Unreal levels were built in a way that allowed for fast and flexible iteration,” Finlayson remarks. “Since our environments were constantly being reviewed by the director, production designer, DP and VFX supervisor, we needed to be able to respond quickly to feedback, sometimes live during a review session. To support this, we had to keep our scenes modular and well-organized; that meant breaking environments down into manageable components and maintaining clean naming conventions. By setting up the levels this way, we could make layout changes, swap assets or adjust lighting on the fly without breaking the scene or slowing down the process.” Production schedules influence the workflows, pipelines and techniques. “No two projects will ever feel exactly the same,” Bell notes. “For example, Pat Younisadapted his typical VR setup to allow scene reviews using a PS5 controller, which made it much more comfortable and accessible for the director. On a more technical side, because everything was cubes and voxels, my Blender workflow ended up being way heavier on the re-mesh modifier than usual, definitely not something I’ll run into again anytime soon!” A virtual study and final still of the cast members standing outside of the Lava Chicken Shack. “We received concept art provided by the amazing team of concept artists. Not only did they send us 2D artwork, but they often shared the 3D models they used to create those visuals. These models were incredibly helpful as starting points when building out the virtual environments in Unreal Engine; they gave us a clear sense of composition and design intent. Storyboards were also a key part of the process and were constantly being updated as the project evolved. Having access to the latest versions allowed us to tailor the virtual environments to match camera angles, story beats and staging.” —Talia Finlayson, Creative Technologist, Disguise The design and composition of virtual environments tended to remain consistent throughout principal photography. “The only major design change I can recall was the removal of a second story from a building in Midport Village to allow the camera crane to get a clear shot of the chicken perched above Steve’s lava chicken shack,” Finlayson remarks. “I would agree that Midport Village likely went through the most iterations,” Bell responds. “The archway, in particular, became a visual anchor across different levels. We often placed it off in the distance to help orient both ourselves and the audience and show how far the characters had traveled. I remember rebuilding the stairs leading up to the rampart five or six times, using different configurations based on the physically constructed stairs. This was because there were storyboarded sequences of the film’s characters, Henry, Steve and Garrett, being chased by piglins, and the action needed to match what could be achieved practically on set.” Virtually conceptualizing the layout of Midport Village. Complex virtual environments were constructed for the final battle and the various forest scenes throughout the movie. “What made these particularly challenging was the way physical set pieces were repurposed and repositioned to serve multiple scenes and locations within the story,” Finlayson reveals. “The same built elements had to appear in different parts of the world, so we had to carefully adjust the virtual environments to accommodate those different positions.” Bell is in agreement with her colleague. “The forest scenes were some of the more complex environments to manage. It could get tricky, particularly when the filming schedule shifted. There was one day on set where the order of shots changed unexpectedly, and because the physical sets looked so similar, I initially loaded a different perspective than planned. Fortunately, thanks to our workflow, Lindsay Georgeand I were able to quickly open the recorded sequence in Unreal Engine and swap out the correct virtual environment for the live composite without any disruption to the shoot.” An example of the virtual and final version of the Woodland Mansion. “Midport Village likely went through the most iterations. The archway, in particular, became a visual anchor across different levels. We often placed it off in the distance to help orient both ourselves and the audience and show how far the characters had traveled.” —Laura Bell, Creative Technologist, Disguise Extensive detail was given to the center of the sets where the main action unfolds. “For these areas, we received prop layouts from the prop department to ensure accurate placement and alignment with the physical builds,” Finlayson explains. “These central environments were used heavily for storyboarding, blocking and department reviews, so precision was essential. As we moved further out from the practical set, the environments became more about blocking and spatial context rather than fine detail. We worked closely with Production Designer Grant Major to get approval on these extended environments, making sure they aligned with the overall visual direction. We also used creatures and crowd stand-ins provided by the visual effects team. These gave a great sense of scale and placement during early planning stages and allowed other departments to better understand how these elements would be integrated into the scenes.” Cast members Sebastian Hansen, Danielle Brooks and Emma Myers stand in front of the Earth Portal Plateau environment. Doing a virtual scale study of the Mountainside. Practical requirements like camera moves, stunt choreography and crane setups had an impact on the creation of virtual environments. “Sometimes we would adjust layouts slightly to open up areas for tracking shots or rework spaces to accommodate key action beats, all while keeping the environment feeling cohesive and true to the Minecraft world,” Bell states. “Simulcam bridged the physical and virtual worlds on set, overlaying Unreal Engine environments onto live-action scenes in real-time, giving the director, DP and other department heads a fully-realized preview of shots and enabling precise, informed decisions during production. It also recorded critical production data like camera movement paths, which was handed over to the post-production team to give them the exact tracks they needed, streamlining the visual effects pipeline.” Piglots cause mayhem during the Wingsuit Chase. Virtual versions of the exterior and interior of the Safe House located in the Enchanted Woods. “One of the biggest challenges for me was managing constant iteration while keeping our environments clean, organized and easy to update,” Finlayson notes. “Because the virtual sets were reviewed regularly by the director and other heads of departments, feedback was often implemented live in the room. This meant the environments had to be flexible. But overall, this was an amazing project to work on, and I am so grateful for the incredible VAD team I was a part of – Heide Nichols, Pat Younis, Jake Tuckand Laura. Everyone on this team worked so collaboratively, seamlessly and in such a supportive way that I never felt like I was out of my depth.” There was another challenge that is more to do with familiarity. “Having a VAD on a film is still a relatively new process in production,” Bell states. “There were moments where other departments were still learning what we did and how to best work with us. That said, the response was overwhelmingly positive. I remember being on set at the Simulcam station and seeing how excited people were to look at the virtual environments as they walked by, often stopping for a chat and a virtual tour. Instead of seeing just a huge blue curtain, they were stoked to see something Minecraft and could get a better sense of what they were actually shooting.” #how #disguise #built #out #virtual
    WWW.VFXVOICE.COM
    HOW DISGUISE BUILT OUT THE VIRTUAL ENVIRONMENTS FOR A MINECRAFT MOVIE
    By TREVOR HOGG Images courtesy of Warner Bros. Pictures. Rather than a world constructed around photorealistic pixels, a video game created by Markus Persson has taken the boxier 3D voxel route, which has become its signature aesthetic, and sparked an international phenomenon that finally gets adapted into a feature with the release of A Minecraft Movie. Brought onboard to help filmmaker Jared Hess in creating the environments that the cast of Jason Momoa, Jack Black, Sebastian Hansen, Emma Myers and Danielle Brooks find themselves inhabiting was Disguise under the direction of Production VFX Supervisor Dan Lemmon. “[A]s the Senior Unreal Artist within the Virtual Art Department (VAD) on Minecraft, I experienced the full creative workflow. What stood out most was how deeply the VAD was embedded across every stage of production. We weren’t working in isolation. From the production designer and director to the VFX supervisor and DP, the VAD became a hub for collaboration.” —Talia Finlayson, Creative Technologist, Disguise Interior and exterior environments had to be created, such as the shop owned by Steve (Jack Black). “Prior to working on A Minecraft Movie, I held more technical roles, like serving as the Virtual Production LED Volume Operator on a project for Apple TV+ and Paramount Pictures,” notes Talia Finlayson, Creative Technologist for Disguise. “But as the Senior Unreal Artist within the Virtual Art Department (VAD) on Minecraft, I experienced the full creative workflow. What stood out most was how deeply the VAD was embedded across every stage of production. We weren’t working in isolation. From the production designer and director to the VFX supervisor and DP, the VAD became a hub for collaboration.” The project provided new opportunities. “I’ve always loved the physicality of working with an LED volume, both for the immersion it provides and the way that seeing the environment helps shape an actor’s performance,” notes Laura Bell, Creative Technologist for Disguise. “But for A Minecraft Movie, we used Simulcam instead, and it was an incredible experience to live-composite an entire Minecraft world in real-time, especially with nothing on set but blue curtains.” Set designs originally created by the art department in Rhinoceros 3D were transformed into fully navigable 3D environments within Unreal Engine. “These scenes were far more than visualizations,” Finlayson remarks. “They were interactive tools used throughout the production pipeline. We would ingest 3D models and concept art, clean and optimize geometry using tools like Blender, Cinema 4D or Maya, then build out the world in Unreal Engine. This included applying materials, lighting and extending environments. These Unreal scenes we created were vital tools across the production and were used for a variety of purposes such as enabling the director to explore shot compositions, block scenes and experiment with camera movement in a virtual space, as well as passing along Unreal Engine scenes to the visual effects vendors so they could align their digital environments and set extensions with the approved production layouts.” A virtual exploration of Steve’s shop in Midport Village. Certain elements have to be kept in mind when constructing virtual environments. “When building virtual environments, you need to consider what can actually be built, how actors and cameras will move through the space, and what’s safe and practical on set,” Bell observes. “Outside the areas where strict accuracy is required, you want the environments to blend naturally with the original designs from the art department and support the story, creating a space that feels right for the scene, guides the audience’s eye and sets the right tone. Things like composition, lighting and small environmental details can be really fun to work on, but also serve as beautiful additions to help enrich a story.” “I’ve always loved the physicality of working with an LED volume, both for the immersion it provides and the way that seeing the environment helps shape an actor’s performance. But for A Minecraft Movie, we used Simulcam instead, and it was an incredible experience to live-composite an entire Minecraft world in real-time, especially with nothing on set but blue curtains.” —Laura Bell, Creative Technologist, Disguise Among the buildings that had to be created for Midport Village was Steve’s (Jack Black) Lava Chicken Shack. Concept art was provided that served as visual touchstones. “We received concept art provided by the amazing team of concept artists,” Finlayson states. “Not only did they send us 2D artwork, but they often shared the 3D models they used to create those visuals. These models were incredibly helpful as starting points when building out the virtual environments in Unreal Engine; they gave us a clear sense of composition and design intent. Storyboards were also a key part of the process and were constantly being updated as the project evolved. Having access to the latest versions allowed us to tailor the virtual environments to match camera angles, story beats and staging. Sometimes we would also help the storyboard artists by sending through images of the Unreal Engine worlds to help them geographically position themselves in the worlds and aid in their storyboarding.” At times, the video game assets came in handy. “Exteriors often involved large-scale landscapes and stylized architectural elements, which had to feel true to the Minecraft world,” Finlayson explains. “In some cases, we brought in geometry from the game itself to help quickly block out areas. For example, we did this for the Elytra Flight Chase sequence, which takes place through a large canyon.” Flexibility was critical. “A key technical challenge we faced was ensuring that the Unreal levels were built in a way that allowed for fast and flexible iteration,” Finlayson remarks. “Since our environments were constantly being reviewed by the director, production designer, DP and VFX supervisor, we needed to be able to respond quickly to feedback, sometimes live during a review session. To support this, we had to keep our scenes modular and well-organized; that meant breaking environments down into manageable components and maintaining clean naming conventions. By setting up the levels this way, we could make layout changes, swap assets or adjust lighting on the fly without breaking the scene or slowing down the process.” Production schedules influence the workflows, pipelines and techniques. “No two projects will ever feel exactly the same,” Bell notes. “For example, Pat Younis [VAD Art Director] adapted his typical VR setup to allow scene reviews using a PS5 controller, which made it much more comfortable and accessible for the director. On a more technical side, because everything was cubes and voxels, my Blender workflow ended up being way heavier on the re-mesh modifier than usual, definitely not something I’ll run into again anytime soon!” A virtual study and final still of the cast members standing outside of the Lava Chicken Shack. “We received concept art provided by the amazing team of concept artists. Not only did they send us 2D artwork, but they often shared the 3D models they used to create those visuals. These models were incredibly helpful as starting points when building out the virtual environments in Unreal Engine; they gave us a clear sense of composition and design intent. Storyboards were also a key part of the process and were constantly being updated as the project evolved. Having access to the latest versions allowed us to tailor the virtual environments to match camera angles, story beats and staging.” —Talia Finlayson, Creative Technologist, Disguise The design and composition of virtual environments tended to remain consistent throughout principal photography. “The only major design change I can recall was the removal of a second story from a building in Midport Village to allow the camera crane to get a clear shot of the chicken perched above Steve’s lava chicken shack,” Finlayson remarks. “I would agree that Midport Village likely went through the most iterations,” Bell responds. “The archway, in particular, became a visual anchor across different levels. We often placed it off in the distance to help orient both ourselves and the audience and show how far the characters had traveled. I remember rebuilding the stairs leading up to the rampart five or six times, using different configurations based on the physically constructed stairs. This was because there were storyboarded sequences of the film’s characters, Henry, Steve and Garrett, being chased by piglins, and the action needed to match what could be achieved practically on set.” Virtually conceptualizing the layout of Midport Village. Complex virtual environments were constructed for the final battle and the various forest scenes throughout the movie. “What made these particularly challenging was the way physical set pieces were repurposed and repositioned to serve multiple scenes and locations within the story,” Finlayson reveals. “The same built elements had to appear in different parts of the world, so we had to carefully adjust the virtual environments to accommodate those different positions.” Bell is in agreement with her colleague. “The forest scenes were some of the more complex environments to manage. It could get tricky, particularly when the filming schedule shifted. There was one day on set where the order of shots changed unexpectedly, and because the physical sets looked so similar, I initially loaded a different perspective than planned. Fortunately, thanks to our workflow, Lindsay George [VP Tech] and I were able to quickly open the recorded sequence in Unreal Engine and swap out the correct virtual environment for the live composite without any disruption to the shoot.” An example of the virtual and final version of the Woodland Mansion. “Midport Village likely went through the most iterations. The archway, in particular, became a visual anchor across different levels. We often placed it off in the distance to help orient both ourselves and the audience and show how far the characters had traveled.” —Laura Bell, Creative Technologist, Disguise Extensive detail was given to the center of the sets where the main action unfolds. “For these areas, we received prop layouts from the prop department to ensure accurate placement and alignment with the physical builds,” Finlayson explains. “These central environments were used heavily for storyboarding, blocking and department reviews, so precision was essential. As we moved further out from the practical set, the environments became more about blocking and spatial context rather than fine detail. We worked closely with Production Designer Grant Major to get approval on these extended environments, making sure they aligned with the overall visual direction. We also used creatures and crowd stand-ins provided by the visual effects team. These gave a great sense of scale and placement during early planning stages and allowed other departments to better understand how these elements would be integrated into the scenes.” Cast members Sebastian Hansen, Danielle Brooks and Emma Myers stand in front of the Earth Portal Plateau environment. Doing a virtual scale study of the Mountainside. Practical requirements like camera moves, stunt choreography and crane setups had an impact on the creation of virtual environments. “Sometimes we would adjust layouts slightly to open up areas for tracking shots or rework spaces to accommodate key action beats, all while keeping the environment feeling cohesive and true to the Minecraft world,” Bell states. “Simulcam bridged the physical and virtual worlds on set, overlaying Unreal Engine environments onto live-action scenes in real-time, giving the director, DP and other department heads a fully-realized preview of shots and enabling precise, informed decisions during production. It also recorded critical production data like camera movement paths, which was handed over to the post-production team to give them the exact tracks they needed, streamlining the visual effects pipeline.” Piglots cause mayhem during the Wingsuit Chase. Virtual versions of the exterior and interior of the Safe House located in the Enchanted Woods. “One of the biggest challenges for me was managing constant iteration while keeping our environments clean, organized and easy to update,” Finlayson notes. “Because the virtual sets were reviewed regularly by the director and other heads of departments, feedback was often implemented live in the room. This meant the environments had to be flexible. But overall, this was an amazing project to work on, and I am so grateful for the incredible VAD team I was a part of – Heide Nichols [VAD Supervisor], Pat Younis, Jake Tuck [Unreal Artist] and Laura. Everyone on this team worked so collaboratively, seamlessly and in such a supportive way that I never felt like I was out of my depth.” There was another challenge that is more to do with familiarity. “Having a VAD on a film is still a relatively new process in production,” Bell states. “There were moments where other departments were still learning what we did and how to best work with us. That said, the response was overwhelmingly positive. I remember being on set at the Simulcam station and seeing how excited people were to look at the virtual environments as they walked by, often stopping for a chat and a virtual tour. Instead of seeing just a huge blue curtain, they were stoked to see something Minecraft and could get a better sense of what they were actually shooting.”
    0 Yorumlar 0 hisse senetleri
  • Download Unreal Engine 2D animation plugin Odyssey for free

    html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" ";

    Epic Games has made Odyssey, Praxinos’s 2D animation plugin for Unreal Engine, available for free through Fab, its online marketplace.The software – which can be used for storyboarding or texturing 3D models as well as creating 2D animation – is available for free indefinitely, and will continue to be updated.
    A serious professional 2D animation tool created by former TVPaint staff

    Created by a team that includes former developers of standalone 2D animation software TVPaint, Odyssey has been in development since 2019.Part of that work was also funded by Epic Games, with Praxinos receiving an Epic MegaGrant for two of Odyssey’s precursors: painting plugin Iliad and storyboard and layout plugin Epos.
    Odyssey itself was released last year after beta testing at French animation studios including Ellipse Animation, and originally cost €1,200 for a perpetual license.

    Create 2D animation, storyboards, or textures for 3D models

    Although Odyssey’s main function is to create 2D animation – for movie and broadcast projects, motion graphics, or even games – the plugin adds a wider 2D toolset to Unreal Engine.Other use cases include storyboarding – you can import image sequences and turn them into storyboards – and texturing, either by painting 2D texture maps, or painting onto 3D meshes.
    It supports both 2D and 3D workflows, with the 2D editors – which include a flipbook editor as well as the 2D texture and animation editors – complemented by a 3D viewport.
    The bitmap painting toolset makes use of Unreal Engine’s Blueprint system, making it possible for users to create new painting brushes using a node-based workflow, and supports pressure sensitivity on graphics tablets.
    There is also a vector toolset for creating hard-edged shapes.
    Animation features include onion skinning, Toon Boom-style shift and trace, and automatic inbetweening.
    The plugin supports standard 2D and 3D file formats, including PSD, FBX and USD.
    Available for free indefinitely, but future updates planned

    Epic Games regularly makes Unreal Engine assets available for free through Fab, but usually only for a limited period of time.Odyssey is different, in that it is available for free indefinitely.
    However, it will continue to get updates: according to Epic Games’ blog post, Praxinos “plans to work in close collaboration with Epic Games and continue to enhance Odyssey”.
    As well as Odyssey itself, Praxinos offers custom tools development and training, which will hopefully also help to support future development.
    System requirements and availability

    Odyssey is compatible with Unreal Engine 5.6 on Windows and macOS. It is available for free under a Fab Standard License, including for commercial use. about Odyssey on Praxinos’s website
    Find more detailed information in Odyssey’s online manual
    Download Unreal Engine 2D animation plugin Odyssey for free

    Have your say on this story by following CG Channel on Facebook, Instagram and X. As well as being able to comment on stories, followers of our social media accounts can see videos we don’t post on the site itself, including making-ofs for the latest VFX movies, animations, games cinematics and motion graphics projects.
    #download #unreal #engine #animation #plugin
    Download Unreal Engine 2D animation plugin Odyssey for free
    html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "; Epic Games has made Odyssey, Praxinos’s 2D animation plugin for Unreal Engine, available for free through Fab, its online marketplace.The software – which can be used for storyboarding or texturing 3D models as well as creating 2D animation – is available for free indefinitely, and will continue to be updated. A serious professional 2D animation tool created by former TVPaint staff Created by a team that includes former developers of standalone 2D animation software TVPaint, Odyssey has been in development since 2019.Part of that work was also funded by Epic Games, with Praxinos receiving an Epic MegaGrant for two of Odyssey’s precursors: painting plugin Iliad and storyboard and layout plugin Epos. Odyssey itself was released last year after beta testing at French animation studios including Ellipse Animation, and originally cost €1,200 for a perpetual license. Create 2D animation, storyboards, or textures for 3D models Although Odyssey’s main function is to create 2D animation – for movie and broadcast projects, motion graphics, or even games – the plugin adds a wider 2D toolset to Unreal Engine.Other use cases include storyboarding – you can import image sequences and turn them into storyboards – and texturing, either by painting 2D texture maps, or painting onto 3D meshes. It supports both 2D and 3D workflows, with the 2D editors – which include a flipbook editor as well as the 2D texture and animation editors – complemented by a 3D viewport. The bitmap painting toolset makes use of Unreal Engine’s Blueprint system, making it possible for users to create new painting brushes using a node-based workflow, and supports pressure sensitivity on graphics tablets. There is also a vector toolset for creating hard-edged shapes. Animation features include onion skinning, Toon Boom-style shift and trace, and automatic inbetweening. The plugin supports standard 2D and 3D file formats, including PSD, FBX and USD. Available for free indefinitely, but future updates planned Epic Games regularly makes Unreal Engine assets available for free through Fab, but usually only for a limited period of time.Odyssey is different, in that it is available for free indefinitely. However, it will continue to get updates: according to Epic Games’ blog post, Praxinos “plans to work in close collaboration with Epic Games and continue to enhance Odyssey”. As well as Odyssey itself, Praxinos offers custom tools development and training, which will hopefully also help to support future development. System requirements and availability Odyssey is compatible with Unreal Engine 5.6 on Windows and macOS. It is available for free under a Fab Standard License, including for commercial use. about Odyssey on Praxinos’s website Find more detailed information in Odyssey’s online manual Download Unreal Engine 2D animation plugin Odyssey for free Have your say on this story by following CG Channel on Facebook, Instagram and X. As well as being able to comment on stories, followers of our social media accounts can see videos we don’t post on the site itself, including making-ofs for the latest VFX movies, animations, games cinematics and motion graphics projects. #download #unreal #engine #animation #plugin
    Download Unreal Engine 2D animation plugin Odyssey for free
    html PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN" "http://www.w3.org/TR/REC-html40/loose.dtd" Epic Games has made Odyssey, Praxinos’s 2D animation plugin for Unreal Engine, available for free through Fab, its online marketplace.The software – which can be used for storyboarding or texturing 3D models as well as creating 2D animation – is available for free indefinitely, and will continue to be updated. A serious professional 2D animation tool created by former TVPaint staff Created by a team that includes former developers of standalone 2D animation software TVPaint, Odyssey has been in development since 2019.Part of that work was also funded by Epic Games, with Praxinos receiving an Epic MegaGrant for two of Odyssey’s precursors: painting plugin Iliad and storyboard and layout plugin Epos. Odyssey itself was released last year after beta testing at French animation studios including Ellipse Animation, and originally cost €1,200 for a perpetual license. Create 2D animation, storyboards, or textures for 3D models Although Odyssey’s main function is to create 2D animation – for movie and broadcast projects, motion graphics, or even games – the plugin adds a wider 2D toolset to Unreal Engine.Other use cases include storyboarding – you can import image sequences and turn them into storyboards – and texturing, either by painting 2D texture maps, or painting onto 3D meshes. It supports both 2D and 3D workflows, with the 2D editors – which include a flipbook editor as well as the 2D texture and animation editors – complemented by a 3D viewport. The bitmap painting toolset makes use of Unreal Engine’s Blueprint system, making it possible for users to create new painting brushes using a node-based workflow, and supports pressure sensitivity on graphics tablets. There is also a vector toolset for creating hard-edged shapes. Animation features include onion skinning, Toon Boom-style shift and trace, and automatic inbetweening. The plugin supports standard 2D and 3D file formats, including PSD, FBX and USD. Available for free indefinitely, but future updates planned Epic Games regularly makes Unreal Engine assets available for free through Fab, but usually only for a limited period of time.Odyssey is different, in that it is available for free indefinitely. However, it will continue to get updates: according to Epic Games’ blog post, Praxinos “plans to work in close collaboration with Epic Games and continue to enhance Odyssey”. As well as Odyssey itself, Praxinos offers custom tools development and training, which will hopefully also help to support future development. System requirements and availability Odyssey is compatible with Unreal Engine 5.6 on Windows and macOS. It is available for free under a Fab Standard License, including for commercial use.Read more about Odyssey on Praxinos’s website Find more detailed information in Odyssey’s online manual Download Unreal Engine 2D animation plugin Odyssey for free Have your say on this story by following CG Channel on Facebook, Instagram and X (formerly Twitter). As well as being able to comment on stories, followers of our social media accounts can see videos we don’t post on the site itself, including making-ofs for the latest VFX movies, animations, games cinematics and motion graphics projects.
    0 Yorumlar 0 hisse senetleri
  • Love, Death + Robots – Volume 4: Tim Miller (Creator & Director) & Jennifer Yuh Nelson (Supervising Director)

    Interviews

    Love, Death + Robots – Volume 4: Tim Miller& Jennifer Yuh NelsonBy Vincent Frei - 02/06/2025

    Earlier this year, Tim Miller spoke to us about his animated anthology Secret Level. Now, he returns to discuss the latest season of Love, Death + Robots.
    Jennifer Yuh Nelson talked about season two of Love, Death + Robots in 2021. She later worked on The Sea Beast, before returning once again to the anthology universe.
    What was your overall vision for the fourth season of Love, Death and Robots and how did it evolve from previous seasons?
    Tim Miller// We have the same strategy as every volume – we try to pick the best stories we know of and provide a mix that is hopefully appealing to everyone. There are a lot of variables to consider. Including genre, tone, and style of animation, such as stop motion, CG, and 2D.
    We try not to have two stories that are too similar. For example, if there’s already a military sci-fi story, we avoid selecting another one. We like to mix humor, horror, sci-fi, fantasy, and anything else that we think might be interesting from either a story or animation perspective.

    How did you approach the balance between experimenting with new styles and maintaining the signature identity of the show?
    TM // Honestly, we just try and follow our gut. What we think is interesting as filmmakers, animators, and storytellers will also be interesting to the animation community and fans alike. So, we keep an eye out for new voices, filmmakers, and new ways of doing things to keep things interesting.
    I’m not sure we have an identity of the show. In fact, I think if we did have an identity, it would be that we don’t have an identity… but we try and do whatever we think is interesting.
    Jennifer Yuh Nelson// The fortunate thing about LDR is that the signature itself is experimenting with new styles. The trick is finding new aggressively experimental styles that still communicate to a mass audience. The stories are key to that. If the story is engaging, even to an audience that doesn’t usually gravitate to animation, then you can make it looks as weird as you want.

    What are some of the key challenges you faced while overseeing this season and how do you tackle them?
    TM // This season, there was a lot going on in the animation community that created some challenges with getting work done, whether studios were too full or ceased to exist entirely. Everyone struggled with budgets. But I didn’t feel like it was a problem with our show but rather a problem with the entire industry. People were struggling.
    And then it’s just always difficult when your ambition is high, your budgets are reasonable but still challenging, and you have to wrangle hundreds of people to get on board with your vision.// These shows take a long time to make. R&D for a look that doesn’t exist can take a lot of trial and error. For example, Emily Dean, who directed Very Pulse of the Machine last season, did For He Can Creep this season. She had a cool angle of making her episode look like lithography. That was very very hard, but somehow Polygon, the studio that made both shorts, came through with it. And I think it turned out very well.

    Can you talk about how you selected the different animation studios for this season? What made you decide to work with the studios involved?// We’ve been very fortunate to have worked with amazing people and studios these last few seasons, so it made sense to float some stories by them again. But it really comes down to the stories, and how each leans towards a certain technique. For example, How Zeke Found Religion was holding a slot where we wanted something 2D. We went to Titmouse because they were great with pushing the boundaries of 2D animation, and they suggested Diego Porral as a director who could bring a modern edge.

    How do you ensure each studio’s unique visual style complements the story and tone of each episode?
    TM // I know this sounds a little mystical and I don’t mean it to be, but I think the story speaks to you about style. Some things just feels right, and you have an innate concept of what would be the best version of the story, whether it’s stop motion, CG, 2D animation, or even live action. When you start thinking about the story in a creative way, a style becomes apparent. Which is not to say there aren’t many ways to do things and tell stories, but we feel a best version becomes clear.// We do a lot of research, not just into what the studios have done before, but also into what they wish to do but haven’t had the chance to do. Often it’s just a matter of getting to know them and seeing if they have a philosophy of pushing for experimentation and risk. Then we try to support them as much as possible in their creative R&D.

    You both directed episodes for this season, what was that experience like? How did it differ from your work as overseeing directors?
    TM // For me, it’s really just trying to create the best story and I love working with the artists and trying to be open to what everybody brings to the table because everybody wants to do the best possible episode they can. I try and be open to letting people help carry that load. The best thing about being a director is that you get to pick and choose between all the great ideas that everybody has and shape the narrative by getting the benefit of everyone’s expertise and talent.// It’s a different mindset. As a Supervising Director, I help. As a Director, I do. On episodes I’m not directing, I am deciphering that director’s ambition and pushing for whatever is required to make that absolutely great. On an episode I’m directing, every choice and image has to go through my brain so it’s more a reflection of my personal taste. Plus I tend to storyboard a lot more on my own episodes since it’s a way for me to communicate to the crew. I storyboard a lot on other episodes, but mainly to help figure out problems here and there. It also doesn’t come out of those director’s budgets so the free storyboarding is often welcomed.

    How did you choose the episode you worked on yourself and what aspects of it made it resonate with you both?
    TM // In my case with “The Screaming of the Tyrannosaur,” it was really by default. I had written the episode for Zack Snyder but Zack was too busy, and by that time I’d already fallen in love with the story, so I figured, why not just do it myself? As for “Golgotha,” I always loved the story. It was very efficient and short, which is hard to find in a story – it felt like a full meal. It has a beginning, middle, and end and it resolves in a satisfying way. “Golgotha” had all of that, plus it was funny.// Spider Rose was on the story wall since the beginning. It was one of the “special” ones- very hard, ambitious, uncomfortable. Over the seasons we offered it to different directors and they veered away from it for one reason or another. But it glowed with a complexity that’s rare in a short story. I think that’s because it was written as an exploration for a far larger world that Bruce Sterling was developing. For me, it was the raw emotionality that drew me in. It’s how I understand how to communicate any story. And I love the way Spider Rose draws you in with emotion then shivs you with it.
    Were there any episodes in this season that particularly pushed the boundaries of what you had done before? How did that push happen?
    TM // I think “How Zeke got Religion” pushed the boundaries of 2D animation. The amount of detail and action that the guys at Titmouse were able to pull off was truly astonishing. Once again, Robert Valley outdid himself with 400 boys. The action scene at the end was one of my favorite pieces of animation in all of Love, Death, and Robots.// Golgotha, Tim’s episode is live action, which is a rarity for the show. There was one live action episode in season 1, but none since. It is primarily an animation series, but nowadays, the line is so fuzzy that it seemed to make sense.

    How do you balance creative freedom with the thematic unity required for a show like Love, Death, and Robots?
    TM // There isn’t really a thematic unity. We’re just trying to create the best version of each of the episodes. They don’t tie into each other, they don’t relate to each other, they aren’t supposed to be about either Love, Death or Robots – the title is a meant to be a “catchall” that could hold ANY story or visual art we thought might be cool. Hopefully, the overall assemblage feels like a balanced meal with a little bit of something for everybody. But thematically speaking, again, I think our theme is that there is no theme.// We try to set the foundation with a good story, based off the many short stories Tim has read over the years. Then the HOW of what that story becomes is the wooly Wild West. The directors and studios are fully encouraged to push all the boundaries of how to make these as innovative, impractical, and beautiful as they want. And, since each short is under 15 minutes, the studios we choose can be as experimental and scrappy as each story demands.

    Looking at the overall direction of the season, was there any unexpected moments or surprises that stood out to you during production?
    TM // Yeah, I think the color palette for “Zeke” was a shock to me in a wonderful way because it was completely unexpected and nothing I would ever do as a director but boy did I love it. And I think that “Can’t Stop” was an interesting addition. We wanted to do a music video from volume 1 onward, and this was the moment that we took to do it. I think it’s the greatest concert video ever made.// Why do we have so many cats and babies? I’ve no idea. But when we saw the first giant baby shots in 400 Boys, it was a rare joy. They walk like babies, real babies. And somehow that was both accurate and terrifying.

    Looking forward, where do you see the show heading in future seasons, are there any new themes or concepts you’d love to explore?
    TM // So many directors in the industry have asked if they could play in our sandbox, and I would like to expand our reach to get some established names. Not that we don’t want new talent – we will always want that – but it would be great to have some really fantastic directors who have accomplished big movies come and play with our stories. I also think there’s a version where we bring in some content that may have existed in other mediums like comic books and perhaps tell some larger stories that take more than one episode to tell.
    Truthfully, I’ve already got a some really interesting stories picked out for the next few seasons, — of course those will change as the show evolves, but they’re fascinating stories that explore the whole arc of history… past, present, and future and some of the big challenges that humanity is facing today. I’d be lying if I didn’t mention that many of them explore the future of what mankind will become with the advent of AI and how artificial intelligence and humanity’s future intersect.// Often themes only show up afterwards. There is a bit of a “herding cats” energy to the show that promises surprises in the production process. But the point of a show like this is that it is surprising. It has its own energy, and sometimes we just have to listen to it rather than dictate.

    If you had the opportunity to create any kind of story for Love, Death, and Robots, what would your dream narrative and what type of animation style would you envision for it?
    TM // Well, I have to say that I love high-end 3D animation, and that’s what Blur does for a reason. And secondly, I’d like to do a kind of story that could be live action and has some vast scope to it, but we choose to do it in animation because we get more value from using the techniques that animation brings. We can tell a bigger story, with more scope, and more action than we would using any other methodology…. and it competes favorably with live action in terms of the kind of audience that comes to watch it. Not just fans of animation, but fans of good cinema.// I’d love to see an anime episode, like a Tsutomu Nihei fight scene, or something by Katsuhiro Otomo.

    A big thanks for your time.
    WANT TO KNOW MORE?Blur Studio: Dedicated page about Love, Death + Robots: Volume 4 on Blur Studio website.
    © Vincent Frei – The Art of VFX – 2025
    #love #death #robots #volume #tim
    Love, Death + Robots – Volume 4: Tim Miller (Creator & Director) & Jennifer Yuh Nelson (Supervising Director)
    Interviews Love, Death + Robots – Volume 4: Tim Miller& Jennifer Yuh NelsonBy Vincent Frei - 02/06/2025 Earlier this year, Tim Miller spoke to us about his animated anthology Secret Level. Now, he returns to discuss the latest season of Love, Death + Robots. Jennifer Yuh Nelson talked about season two of Love, Death + Robots in 2021. She later worked on The Sea Beast, before returning once again to the anthology universe. What was your overall vision for the fourth season of Love, Death and Robots and how did it evolve from previous seasons? Tim Miller// We have the same strategy as every volume – we try to pick the best stories we know of and provide a mix that is hopefully appealing to everyone. There are a lot of variables to consider. Including genre, tone, and style of animation, such as stop motion, CG, and 2D. We try not to have two stories that are too similar. For example, if there’s already a military sci-fi story, we avoid selecting another one. We like to mix humor, horror, sci-fi, fantasy, and anything else that we think might be interesting from either a story or animation perspective. How did you approach the balance between experimenting with new styles and maintaining the signature identity of the show? TM // Honestly, we just try and follow our gut. What we think is interesting as filmmakers, animators, and storytellers will also be interesting to the animation community and fans alike. So, we keep an eye out for new voices, filmmakers, and new ways of doing things to keep things interesting. I’m not sure we have an identity of the show. In fact, I think if we did have an identity, it would be that we don’t have an identity… but we try and do whatever we think is interesting. Jennifer Yuh Nelson// The fortunate thing about LDR is that the signature itself is experimenting with new styles. The trick is finding new aggressively experimental styles that still communicate to a mass audience. The stories are key to that. If the story is engaging, even to an audience that doesn’t usually gravitate to animation, then you can make it looks as weird as you want. What are some of the key challenges you faced while overseeing this season and how do you tackle them? TM // This season, there was a lot going on in the animation community that created some challenges with getting work done, whether studios were too full or ceased to exist entirely. Everyone struggled with budgets. But I didn’t feel like it was a problem with our show but rather a problem with the entire industry. People were struggling. And then it’s just always difficult when your ambition is high, your budgets are reasonable but still challenging, and you have to wrangle hundreds of people to get on board with your vision.// These shows take a long time to make. R&D for a look that doesn’t exist can take a lot of trial and error. For example, Emily Dean, who directed Very Pulse of the Machine last season, did For He Can Creep this season. She had a cool angle of making her episode look like lithography. That was very very hard, but somehow Polygon, the studio that made both shorts, came through with it. And I think it turned out very well. Can you talk about how you selected the different animation studios for this season? What made you decide to work with the studios involved?// We’ve been very fortunate to have worked with amazing people and studios these last few seasons, so it made sense to float some stories by them again. But it really comes down to the stories, and how each leans towards a certain technique. For example, How Zeke Found Religion was holding a slot where we wanted something 2D. We went to Titmouse because they were great with pushing the boundaries of 2D animation, and they suggested Diego Porral as a director who could bring a modern edge. How do you ensure each studio’s unique visual style complements the story and tone of each episode? TM // I know this sounds a little mystical and I don’t mean it to be, but I think the story speaks to you about style. Some things just feels right, and you have an innate concept of what would be the best version of the story, whether it’s stop motion, CG, 2D animation, or even live action. When you start thinking about the story in a creative way, a style becomes apparent. Which is not to say there aren’t many ways to do things and tell stories, but we feel a best version becomes clear.// We do a lot of research, not just into what the studios have done before, but also into what they wish to do but haven’t had the chance to do. Often it’s just a matter of getting to know them and seeing if they have a philosophy of pushing for experimentation and risk. Then we try to support them as much as possible in their creative R&D. You both directed episodes for this season, what was that experience like? How did it differ from your work as overseeing directors? TM // For me, it’s really just trying to create the best story and I love working with the artists and trying to be open to what everybody brings to the table because everybody wants to do the best possible episode they can. I try and be open to letting people help carry that load. The best thing about being a director is that you get to pick and choose between all the great ideas that everybody has and shape the narrative by getting the benefit of everyone’s expertise and talent.// It’s a different mindset. As a Supervising Director, I help. As a Director, I do. On episodes I’m not directing, I am deciphering that director’s ambition and pushing for whatever is required to make that absolutely great. On an episode I’m directing, every choice and image has to go through my brain so it’s more a reflection of my personal taste. Plus I tend to storyboard a lot more on my own episodes since it’s a way for me to communicate to the crew. I storyboard a lot on other episodes, but mainly to help figure out problems here and there. It also doesn’t come out of those director’s budgets so the free storyboarding is often welcomed. How did you choose the episode you worked on yourself and what aspects of it made it resonate with you both? TM // In my case with “The Screaming of the Tyrannosaur,” it was really by default. I had written the episode for Zack Snyder but Zack was too busy, and by that time I’d already fallen in love with the story, so I figured, why not just do it myself? As for “Golgotha,” I always loved the story. It was very efficient and short, which is hard to find in a story – it felt like a full meal. It has a beginning, middle, and end and it resolves in a satisfying way. “Golgotha” had all of that, plus it was funny.// Spider Rose was on the story wall since the beginning. It was one of the “special” ones- very hard, ambitious, uncomfortable. Over the seasons we offered it to different directors and they veered away from it for one reason or another. But it glowed with a complexity that’s rare in a short story. I think that’s because it was written as an exploration for a far larger world that Bruce Sterling was developing. For me, it was the raw emotionality that drew me in. It’s how I understand how to communicate any story. And I love the way Spider Rose draws you in with emotion then shivs you with it. Were there any episodes in this season that particularly pushed the boundaries of what you had done before? How did that push happen? TM // I think “How Zeke got Religion” pushed the boundaries of 2D animation. The amount of detail and action that the guys at Titmouse were able to pull off was truly astonishing. Once again, Robert Valley outdid himself with 400 boys. The action scene at the end was one of my favorite pieces of animation in all of Love, Death, and Robots.// Golgotha, Tim’s episode is live action, which is a rarity for the show. There was one live action episode in season 1, but none since. It is primarily an animation series, but nowadays, the line is so fuzzy that it seemed to make sense. How do you balance creative freedom with the thematic unity required for a show like Love, Death, and Robots? TM // There isn’t really a thematic unity. We’re just trying to create the best version of each of the episodes. They don’t tie into each other, they don’t relate to each other, they aren’t supposed to be about either Love, Death or Robots – the title is a meant to be a “catchall” that could hold ANY story or visual art we thought might be cool. Hopefully, the overall assemblage feels like a balanced meal with a little bit of something for everybody. But thematically speaking, again, I think our theme is that there is no theme.// We try to set the foundation with a good story, based off the many short stories Tim has read over the years. Then the HOW of what that story becomes is the wooly Wild West. The directors and studios are fully encouraged to push all the boundaries of how to make these as innovative, impractical, and beautiful as they want. And, since each short is under 15 minutes, the studios we choose can be as experimental and scrappy as each story demands. Looking at the overall direction of the season, was there any unexpected moments or surprises that stood out to you during production? TM // Yeah, I think the color palette for “Zeke” was a shock to me in a wonderful way because it was completely unexpected and nothing I would ever do as a director but boy did I love it. And I think that “Can’t Stop” was an interesting addition. We wanted to do a music video from volume 1 onward, and this was the moment that we took to do it. I think it’s the greatest concert video ever made.// Why do we have so many cats and babies? I’ve no idea. But when we saw the first giant baby shots in 400 Boys, it was a rare joy. They walk like babies, real babies. And somehow that was both accurate and terrifying. Looking forward, where do you see the show heading in future seasons, are there any new themes or concepts you’d love to explore? TM // So many directors in the industry have asked if they could play in our sandbox, and I would like to expand our reach to get some established names. Not that we don’t want new talent – we will always want that – but it would be great to have some really fantastic directors who have accomplished big movies come and play with our stories. I also think there’s a version where we bring in some content that may have existed in other mediums like comic books and perhaps tell some larger stories that take more than one episode to tell. Truthfully, I’ve already got a some really interesting stories picked out for the next few seasons, — of course those will change as the show evolves, but they’re fascinating stories that explore the whole arc of history… past, present, and future and some of the big challenges that humanity is facing today. I’d be lying if I didn’t mention that many of them explore the future of what mankind will become with the advent of AI and how artificial intelligence and humanity’s future intersect.// Often themes only show up afterwards. There is a bit of a “herding cats” energy to the show that promises surprises in the production process. But the point of a show like this is that it is surprising. It has its own energy, and sometimes we just have to listen to it rather than dictate. If you had the opportunity to create any kind of story for Love, Death, and Robots, what would your dream narrative and what type of animation style would you envision for it? TM // Well, I have to say that I love high-end 3D animation, and that’s what Blur does for a reason. And secondly, I’d like to do a kind of story that could be live action and has some vast scope to it, but we choose to do it in animation because we get more value from using the techniques that animation brings. We can tell a bigger story, with more scope, and more action than we would using any other methodology…. and it competes favorably with live action in terms of the kind of audience that comes to watch it. Not just fans of animation, but fans of good cinema.// I’d love to see an anime episode, like a Tsutomu Nihei fight scene, or something by Katsuhiro Otomo. A big thanks for your time. WANT TO KNOW MORE?Blur Studio: Dedicated page about Love, Death + Robots: Volume 4 on Blur Studio website. © Vincent Frei – The Art of VFX – 2025 #love #death #robots #volume #tim
    WWW.ARTOFVFX.COM
    Love, Death + Robots – Volume 4: Tim Miller (Creator & Director) & Jennifer Yuh Nelson (Supervising Director)
    Interviews Love, Death + Robots – Volume 4: Tim Miller (Creator & Director) & Jennifer Yuh Nelson (Supervising Director) By Vincent Frei - 02/06/2025 Earlier this year, Tim Miller spoke to us about his animated anthology Secret Level. Now, he returns to discuss the latest season of Love, Death + Robots. Jennifer Yuh Nelson talked about season two of Love, Death + Robots in 2021. She later worked on The Sea Beast, before returning once again to the anthology universe. What was your overall vision for the fourth season of Love, Death and Robots and how did it evolve from previous seasons? Tim Miller (TM) // We have the same strategy as every volume – we try to pick the best stories we know of and provide a mix that is hopefully appealing to everyone. There are a lot of variables to consider. Including genre, tone, and style of animation, such as stop motion, CG, and 2D. We try not to have two stories that are too similar. For example, if there’s already a military sci-fi story, we avoid selecting another one. We like to mix humor, horror, sci-fi, fantasy, and anything else that we think might be interesting from either a story or animation perspective. How did you approach the balance between experimenting with new styles and maintaining the signature identity of the show? TM // Honestly, we just try and follow our gut. What we think is interesting as filmmakers, animators, and storytellers will also be interesting to the animation community and fans alike. So, we keep an eye out for new voices, filmmakers, and new ways of doing things to keep things interesting. I’m not sure we have an identity of the show. In fact, I think if we did have an identity, it would be that we don’t have an identity… but we try and do whatever we think is interesting. Jennifer Yuh Nelson (JYN) // The fortunate thing about LDR is that the signature itself is experimenting with new styles. The trick is finding new aggressively experimental styles that still communicate to a mass audience. The stories are key to that. If the story is engaging, even to an audience that doesn’t usually gravitate to animation, then you can make it looks as weird as you want. What are some of the key challenges you faced while overseeing this season and how do you tackle them? TM // This season, there was a lot going on in the animation community that created some challenges with getting work done, whether studios were too full or ceased to exist entirely. Everyone struggled with budgets. But I didn’t feel like it was a problem with our show but rather a problem with the entire industry. People were struggling. And then it’s just always difficult when your ambition is high, your budgets are reasonable but still challenging, and you have to wrangle hundreds of people to get on board with your vision. (JYN) // These shows take a long time to make. R&D for a look that doesn’t exist can take a lot of trial and error. For example, Emily Dean, who directed Very Pulse of the Machine last season, did For He Can Creep this season. She had a cool angle of making her episode look like lithography. That was very very hard, but somehow Polygon, the studio that made both shorts, came through with it. And I think it turned out very well. Can you talk about how you selected the different animation studios for this season? What made you decide to work with the studios involved? (JYN) // We’ve been very fortunate to have worked with amazing people and studios these last few seasons, so it made sense to float some stories by them again. But it really comes down to the stories, and how each leans towards a certain technique. For example, How Zeke Found Religion was holding a slot where we wanted something 2D. We went to Titmouse because they were great with pushing the boundaries of 2D animation, and they suggested Diego Porral as a director who could bring a modern edge. How do you ensure each studio’s unique visual style complements the story and tone of each episode? TM // I know this sounds a little mystical and I don’t mean it to be, but I think the story speaks to you about style. Some things just feels right, and you have an innate concept of what would be the best version of the story, whether it’s stop motion, CG, 2D animation, or even live action. When you start thinking about the story in a creative way, a style becomes apparent. Which is not to say there aren’t many ways to do things and tell stories, but we feel a best version becomes clear. (JYN) // We do a lot of research, not just into what the studios have done before, but also into what they wish to do but haven’t had the chance to do. Often it’s just a matter of getting to know them and seeing if they have a philosophy of pushing for experimentation and risk. Then we try to support them as much as possible in their creative R&D. You both directed episodes for this season, what was that experience like? How did it differ from your work as overseeing directors? TM // For me, it’s really just trying to create the best story and I love working with the artists and trying to be open to what everybody brings to the table because everybody wants to do the best possible episode they can. I try and be open to letting people help carry that load. The best thing about being a director is that you get to pick and choose between all the great ideas that everybody has and shape the narrative by getting the benefit of everyone’s expertise and talent. (JYN) // It’s a different mindset. As a Supervising Director, I help. As a Director, I do. On episodes I’m not directing, I am deciphering that director’s ambition and pushing for whatever is required to make that absolutely great. On an episode I’m directing, every choice and image has to go through my brain so it’s more a reflection of my personal taste. Plus I tend to storyboard a lot more on my own episodes since it’s a way for me to communicate to the crew. I storyboard a lot on other episodes, but mainly to help figure out problems here and there. It also doesn’t come out of those director’s budgets so the free storyboarding is often welcomed. How did you choose the episode you worked on yourself and what aspects of it made it resonate with you both? TM // In my case with “The Screaming of the Tyrannosaur,” it was really by default. I had written the episode for Zack Snyder but Zack was too busy, and by that time I’d already fallen in love with the story, so I figured, why not just do it myself? As for “Golgotha,” I always loved the story. It was very efficient and short, which is hard to find in a story – it felt like a full meal. It has a beginning, middle, and end and it resolves in a satisfying way. “Golgotha” had all of that, plus it was funny. (JYN) // Spider Rose was on the story wall since the beginning. It was one of the “special” ones- very hard, ambitious, uncomfortable. Over the seasons we offered it to different directors and they veered away from it for one reason or another. But it glowed with a complexity that’s rare in a short story. I think that’s because it was written as an exploration for a far larger world that Bruce Sterling was developing. For me, it was the raw emotionality that drew me in. It’s how I understand how to communicate any story. And I love the way Spider Rose draws you in with emotion then shivs you with it. Were there any episodes in this season that particularly pushed the boundaries of what you had done before? How did that push happen? TM // I think “How Zeke got Religion” pushed the boundaries of 2D animation. The amount of detail and action that the guys at Titmouse were able to pull off was truly astonishing. Once again, Robert Valley outdid himself with 400 boys. The action scene at the end was one of my favorite pieces of animation in all of Love, Death, and Robots. (JYN) // Golgotha, Tim’s episode is live action, which is a rarity for the show. There was one live action episode in season 1, but none since. It is primarily an animation series, but nowadays, the line is so fuzzy that it seemed to make sense. How do you balance creative freedom with the thematic unity required for a show like Love, Death, and Robots? TM // There isn’t really a thematic unity. We’re just trying to create the best version of each of the episodes. They don’t tie into each other, they don’t relate to each other, they aren’t supposed to be about either Love, Death or Robots – the title is a meant to be a “catchall” that could hold ANY story or visual art we thought might be cool. Hopefully, the overall assemblage feels like a balanced meal with a little bit of something for everybody. But thematically speaking, again, I think our theme is that there is no theme. (JYN) // We try to set the foundation with a good story, based off the many short stories Tim has read over the years. Then the HOW of what that story becomes is the wooly Wild West. The directors and studios are fully encouraged to push all the boundaries of how to make these as innovative, impractical, and beautiful as they want. And, since each short is under 15 minutes, the studios we choose can be as experimental and scrappy as each story demands. Looking at the overall direction of the season, was there any unexpected moments or surprises that stood out to you during production? TM // Yeah, I think the color palette for “Zeke” was a shock to me in a wonderful way because it was completely unexpected and nothing I would ever do as a director but boy did I love it. And I think that “Can’t Stop” was an interesting addition. We wanted to do a music video from volume 1 onward, and this was the moment that we took to do it. I think it’s the greatest concert video ever made. (JYN) // Why do we have so many cats and babies? I’ve no idea. But when we saw the first giant baby shots in 400 Boys, it was a rare joy. They walk like babies, real babies. And somehow that was both accurate and terrifying. Looking forward, where do you see the show heading in future seasons, are there any new themes or concepts you’d love to explore? TM // So many directors in the industry have asked if they could play in our sandbox, and I would like to expand our reach to get some established names. Not that we don’t want new talent – we will always want that – but it would be great to have some really fantastic directors who have accomplished big movies come and play with our stories. I also think there’s a version where we bring in some content that may have existed in other mediums like comic books and perhaps tell some larger stories that take more than one episode to tell. Truthfully, I’ve already got a some really interesting stories picked out for the next few seasons, — of course those will change as the show evolves, but they’re fascinating stories that explore the whole arc of history… past, present, and future and some of the big challenges that humanity is facing today. I’d be lying if I didn’t mention that many of them explore the future of what mankind will become with the advent of AI and how artificial intelligence and humanity’s future intersect. (JYN) // Often themes only show up afterwards. There is a bit of a “herding cats” energy to the show that promises surprises in the production process. But the point of a show like this is that it is surprising. It has its own energy, and sometimes we just have to listen to it rather than dictate. If you had the opportunity to create any kind of story for Love, Death, and Robots, what would your dream narrative and what type of animation style would you envision for it? TM // Well, I have to say that I love high-end 3D animation, and that’s what Blur does for a reason. And secondly, I’d like to do a kind of story that could be live action and has some vast scope to it, but we choose to do it in animation because we get more value from using the techniques that animation brings. We can tell a bigger story, with more scope, and more action than we would using any other methodology…. and it competes favorably with live action in terms of the kind of audience that comes to watch it. Not just fans of animation, but fans of good cinema. (JYN) // I’d love to see an anime episode, like a Tsutomu Nihei fight scene, or something by Katsuhiro Otomo. A big thanks for your time. WANT TO KNOW MORE?Blur Studio: Dedicated page about Love, Death + Robots: Volume 4 on Blur Studio website. © Vincent Frei – The Art of VFX – 2025
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  • Behind the Scenes: Check out Keita Takahashi's adorable To a T storyboard sketches

    TechTarget and Informa Tech’s Digital Business Combine.TechTarget and InformaTechTarget and Informa Tech’s Digital Business Combine.Together, we power an unparalleled network of 220+ online properties covering 10,000+ granular topics, serving an audience of 50+ million professionals with original, objective content from trusted sources. We help you gain critical insights and make more informed decisions across your business priorities.Behind the Scenes: Check out Keita Takahashi's adorable To a T storyboard sketchesBehind the Scenes: Check out Keita Takahashi's adorable To a T storyboard sketchesKeita Takahashi sent over a bunch of adorable To a T storyboard sketches following our chat at GDC 2025. Take a look at a handful of formative sketches from the Wattam and Katamari creator.Chris Kerr, Senior Editor, NewsMay 28, 202516 SlidesImage via Annapurna To a T, the latest whimsical video game from Katamari Damacy and Wattam creator Keita Takahashi, is out today.Inevitably, it's as weird and wonderful as you'd expect. An offbeat adventure about a 13-year-old teenager, appropriately called Teen, whose body happens to be stuck in a permanent T-pose.Over the course of an episodic story, players must help Teen navigate the unique challenges of their daily life alongside a fluffy companion, a host of anthropomorphic animals, and other memorable characters.During a recent interview with Game Developer at GDC 2025, Takahashi explained he envisioned To a T as a "sort of sitcom" and set about storyboarding the game's opening scenes in a bid to communicate his vision for the project.Intrigued by how the game looked during those formative stages, we asked Takahashi whether he'd be willing to send a few of those storyboards careening our way. Thankfully, he obliged, and now we're able to share those charming sketches with you.You can see 15 of those early storyboards in the slideshow above.Then, you can read our deliriously wide-ranging interview with Takahashi to learn more about To a T and the inner-workings of one of the industry's most eclectic designers.About the AuthorChris KerrSenior Editor, News, GameDeveloper.comGame Developer news editor Chris Kerr is an award-winning journalist and reporter with over a decade of experience in the game industry. His byline has appeared in notable print and digital publications including Edge, Stuff, Wireframe, International Business Times, and PocketGamer.biz. Throughout his career, Chris has covered major industry events including GDC, PAX Australia, Gamescom, Paris Games Week, and Develop Brighton. He has featured on the judging panel at The Develop Star Awards on multiple occasions and appeared on BBC Radio 5 Live to discuss breaking news.See more from Chris KerrDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like
    #behind #scenes #check #out #keita
    Behind the Scenes: Check out Keita Takahashi's adorable To a T storyboard sketches
    TechTarget and Informa Tech’s Digital Business Combine.TechTarget and InformaTechTarget and Informa Tech’s Digital Business Combine.Together, we power an unparalleled network of 220+ online properties covering 10,000+ granular topics, serving an audience of 50+ million professionals with original, objective content from trusted sources. We help you gain critical insights and make more informed decisions across your business priorities.Behind the Scenes: Check out Keita Takahashi's adorable To a T storyboard sketchesBehind the Scenes: Check out Keita Takahashi's adorable To a T storyboard sketchesKeita Takahashi sent over a bunch of adorable To a T storyboard sketches following our chat at GDC 2025. Take a look at a handful of formative sketches from the Wattam and Katamari creator.Chris Kerr, Senior Editor, NewsMay 28, 202516 SlidesImage via Annapurna To a T, the latest whimsical video game from Katamari Damacy and Wattam creator Keita Takahashi, is out today.Inevitably, it's as weird and wonderful as you'd expect. An offbeat adventure about a 13-year-old teenager, appropriately called Teen, whose body happens to be stuck in a permanent T-pose.Over the course of an episodic story, players must help Teen navigate the unique challenges of their daily life alongside a fluffy companion, a host of anthropomorphic animals, and other memorable characters.During a recent interview with Game Developer at GDC 2025, Takahashi explained he envisioned To a T as a "sort of sitcom" and set about storyboarding the game's opening scenes in a bid to communicate his vision for the project.Intrigued by how the game looked during those formative stages, we asked Takahashi whether he'd be willing to send a few of those storyboards careening our way. Thankfully, he obliged, and now we're able to share those charming sketches with you.You can see 15 of those early storyboards in the slideshow above.Then, you can read our deliriously wide-ranging interview with Takahashi to learn more about To a T and the inner-workings of one of the industry's most eclectic designers.About the AuthorChris KerrSenior Editor, News, GameDeveloper.comGame Developer news editor Chris Kerr is an award-winning journalist and reporter with over a decade of experience in the game industry. His byline has appeared in notable print and digital publications including Edge, Stuff, Wireframe, International Business Times, and PocketGamer.biz. Throughout his career, Chris has covered major industry events including GDC, PAX Australia, Gamescom, Paris Games Week, and Develop Brighton. He has featured on the judging panel at The Develop Star Awards on multiple occasions and appeared on BBC Radio 5 Live to discuss breaking news.See more from Chris KerrDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like #behind #scenes #check #out #keita
    WWW.GAMEDEVELOPER.COM
    Behind the Scenes: Check out Keita Takahashi's adorable To a T storyboard sketches
    TechTarget and Informa Tech’s Digital Business Combine.TechTarget and InformaTechTarget and Informa Tech’s Digital Business Combine.Together, we power an unparalleled network of 220+ online properties covering 10,000+ granular topics, serving an audience of 50+ million professionals with original, objective content from trusted sources. We help you gain critical insights and make more informed decisions across your business priorities.Behind the Scenes: Check out Keita Takahashi's adorable To a T storyboard sketchesBehind the Scenes: Check out Keita Takahashi's adorable To a T storyboard sketchesKeita Takahashi sent over a bunch of adorable To a T storyboard sketches following our chat at GDC 2025. Take a look at a handful of formative sketches from the Wattam and Katamari creator.Chris Kerr, Senior Editor, NewsMay 28, 202516 SlidesImage via Annapurna To a T, the latest whimsical video game from Katamari Damacy and Wattam creator Keita Takahashi, is out today.Inevitably, it's as weird and wonderful as you'd expect. An offbeat adventure about a 13-year-old teenager, appropriately called Teen, whose body happens to be stuck in a permanent T-pose.Over the course of an episodic story, players must help Teen navigate the unique challenges of their daily life alongside a fluffy companion, a host of anthropomorphic animals (including a scene-stealing singing giraffe named Giraffe), and other memorable characters.During a recent interview with Game Developer at GDC 2025, Takahashi explained he envisioned To a T as a "sort of sitcom" and set about storyboarding the game's opening scenes in a bid to communicate his vision for the project.Intrigued by how the game looked during those formative stages, we asked Takahashi whether he'd be willing to send a few of those storyboards careening our way. Thankfully, he obliged, and now we're able to share those charming sketches with you.You can see 15 of those early storyboards in the slideshow above.Then, you can read our deliriously wide-ranging interview with Takahashi to learn more about To a T and the inner-workings of one of the industry's most eclectic designers.About the AuthorChris KerrSenior Editor, News, GameDeveloper.comGame Developer news editor Chris Kerr is an award-winning journalist and reporter with over a decade of experience in the game industry. His byline has appeared in notable print and digital publications including Edge, Stuff, Wireframe, International Business Times, and PocketGamer.biz. Throughout his career, Chris has covered major industry events including GDC, PAX Australia, Gamescom, Paris Games Week, and Develop Brighton. He has featured on the judging panel at The Develop Star Awards on multiple occasions and appeared on BBC Radio 5 Live to discuss breaking news.See more from Chris KerrDaily news, dev blogs, and stories from Game Developer straight to your inboxStay UpdatedYou May Also Like
    0 Yorumlar 0 hisse senetleri
  • Senior Animator – Temp (SFD / Cinematics) at Blizzard Entertainment

    Senior Animator – TempBlizzard EntertainmentSanta Monica California 90405 United States of America2 hours agoApplyTeam Name:CinematicsJob Title:Senior Animator – TempRequisition ID:R025214Job Description:Blizzard Entertainment is looking for a dedicated 3D animator to assist our Cinematics team in crafting the next generation of Epic animated films.What You Bring to the TablePriorities can often change in a fast-paced environment like ours, so this role includes, but is not limited to, the following responsibilities:The cinematic animator will be skilled at animating characters at a level that lives up to the ever-increasing Blizzard Entertainment standard of quality. The ideal candidate has a passion for animation and film making, with experience animating a diverse array of characters and creatures in different styles, from cartoony to realistic and anywhere in-between. A solid grasp of body mechanics and character acting with a mastery of the 12 principles of animation are critical. You must enjoy working on a highly collaborative team of peers as passionate about making phenomenal movies and games as we are. Blizzard Entertainment offers a fun, creative, and technically challenging environment with excellent compensation.This role is anticipated to be a hybrid work position, with some work on-site and some work-from-home. The potential home studio for this role is Irvine, CA. However, we understand each person’s circumstances may be unique and will work with you to explore other possible options, including remote work arrangements.This is roughly a 5-month temporary position.Minimum RequirementsExperience6+ years' experience in game development, television, or film industry using Maya or equivalent 3D programExperience working with Directors, Animation Supervisors and Leads developing, defining, and maintaining high-end cinematic animationsKnowledge & SkillsA demo reel demonstrating high quality hand-keyed animations through solid body mechanics and engaging performancesA solid grasp of body mechanics and character acting with a mastery of the 12 principles of animation are essentialKey AttributesPassion for film, animation, and video gamesSelf-motivation, good communication skills, and a great team-player attitudeAssist in supporting and evolving the Cinematics team with constructive feedback both technically and artisticallyExtra PointsArtistic skills: storyboarding, gesture drawing, 2D animation, compositionTechnical skills: rigging, scripting, and understanding of pipelinePhysical skills: acting, martial arts, and choreographyFilm making skills: cinematography, pre-visualization, editing, and story writingUnderstanding of FX, particles, cloth, and hair as they contribute to a character’s performance and other facets of both 2D and 3D animation is essentialYour PlatformBest known for iconic video game universes including Warcraft®, Overwatch®, Diablo®, and StarCraft®, Blizzard Entertainment, Inc., a division of Activision Blizzard, which was acquired by Microsoft, is a premier developer and publisher of entertainment experiences. Blizzard Entertainment has created some of the industry’s most critically acclaimed and genre-defining games over the last 30 years, with a track record that includes multiple Game of the Year awards. Blizzard Entertainment engages tens of millions of players around the world with titles available on PC via Battle.net®, Xbox, PlayStation, Nintendo Switch, iOS, and Android.Our WorldActivision Blizzard, Inc., is one of the world's largest and most successful interactive entertainment companies and is at the intersection of media, technology and entertainment. We are home to some of the most beloved entertainment franchises including Call of Duty ®, World of Warcraft® , Overwatch ®, Diablo ®, Candy Crush ™ and Bubble Witch ™. Our combined entertainment network delights hundreds of millions of monthly active users in 196 countries, making us the largest gaming network on the planet!Our ability to build immersive and innovate worlds is only enhanced by diverse teams working in an inclusive environment. We aspire to have a culture where everyone can thrive in order to connect and engage the world through epic entertainment. We provide a suite of benefits that promote physical, emotional and financial well-being for ‘Every World’ - we’ve got our employees covered!The videogame industry and therefore our business is fast-paced and will continue to evolve. As such, the duties and responsibilities of this role may be changed as directed by the Company at any time to promote and support our business and relationships with industry partners.We love hearing from anyone who is enthusiastic about changing the games industry. Not sure you meet all qualifications? Let us decide! Research shows that women and members of other under-represented groups tend to not apply to jobs when they think they may not meet every qualification, when, in fact, they often do! We are committed to creating a diverse and inclusive environment and strongly encourage you to apply.We are committed to working with and providing reasonable assistance to individuals with physical and mental disabilities. If you are a disabled individual requiring an accommodation to apply for an open position, please email your request to accommodationrequests@activisionblizzard.com. General employment questions cannot be accepted or processed here. Thank you for your interest.We are an equal opportunity employer and value diversity at our company. We do not discriminate on the basis of race, religion, color, national origin, gender, sexual orientation, gender identity, age, marital status, veteran status, or disability status, among other characteristics.RewardsWe provide a suite of benefits that promote physical, emotional and financial well-being for ‘Every World’ - we’ve got our employees covered! Subject to eligibility requirements, the Company offers comprehensive benefits including:Medical, dental, vision, health savings account or health reimbursement account, healthcare spending accounts, dependent care spending accounts, life and AD&D insurance, disability insurance;401with Company match, tuition reimbursement, charitable donation matching;Paid holidays and vacation, paid sick time, floating holidays, compassion and bereavement leaves, parental leave;Mental health & wellbeing programs, fitness programs, free and discounted games, and a variety of other voluntary benefit programs like supplemental life & disability, legal service, ID protection, rental insurance, and others;If the Company requires that you move geographic locations for the job, then you may also be eligible for relocation assistance.Eligibility to participate in these benefits may vary for part time and temporary full-time employees and interns with the Company. You can learn more by visiting / .In the U.S., the standard base pay range for this role is - Hourly. These values reflect the expected base pay range of new hires across all U.S. locations. Ultimately, your specific range and offer will be based on several factors, including relevant experience, performance, and work location. Your Talent Professional can share this role’s range details for your local geography during the hiring process. In addition to a competitive base pay, employees in this role may be eligible for incentive compensation. Incentive compensation is not guaranteed. While we strive to provide competitive offers to successful candidates, new hire compensation is negotiable.

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    #senior #animator #temp #sfd #cinematics
    Senior Animator – Temp (SFD / Cinematics) at Blizzard Entertainment
    Senior Animator – TempBlizzard EntertainmentSanta Monica California 90405 United States of America2 hours agoApplyTeam Name:CinematicsJob Title:Senior Animator – TempRequisition ID:R025214Job Description:Blizzard Entertainment is looking for a dedicated 3D animator to assist our Cinematics team in crafting the next generation of Epic animated films.What You Bring to the TablePriorities can often change in a fast-paced environment like ours, so this role includes, but is not limited to, the following responsibilities:The cinematic animator will be skilled at animating characters at a level that lives up to the ever-increasing Blizzard Entertainment standard of quality. The ideal candidate has a passion for animation and film making, with experience animating a diverse array of characters and creatures in different styles, from cartoony to realistic and anywhere in-between. A solid grasp of body mechanics and character acting with a mastery of the 12 principles of animation are critical. You must enjoy working on a highly collaborative team of peers as passionate about making phenomenal movies and games as we are. Blizzard Entertainment offers a fun, creative, and technically challenging environment with excellent compensation.This role is anticipated to be a hybrid work position, with some work on-site and some work-from-home. The potential home studio for this role is Irvine, CA. However, we understand each person’s circumstances may be unique and will work with you to explore other possible options, including remote work arrangements.This is roughly a 5-month temporary position.Minimum RequirementsExperience6+ years' experience in game development, television, or film industry using Maya or equivalent 3D programExperience working with Directors, Animation Supervisors and Leads developing, defining, and maintaining high-end cinematic animationsKnowledge & SkillsA demo reel demonstrating high quality hand-keyed animations through solid body mechanics and engaging performancesA solid grasp of body mechanics and character acting with a mastery of the 12 principles of animation are essentialKey AttributesPassion for film, animation, and video gamesSelf-motivation, good communication skills, and a great team-player attitudeAssist in supporting and evolving the Cinematics team with constructive feedback both technically and artisticallyExtra PointsArtistic skills: storyboarding, gesture drawing, 2D animation, compositionTechnical skills: rigging, scripting, and understanding of pipelinePhysical skills: acting, martial arts, and choreographyFilm making skills: cinematography, pre-visualization, editing, and story writingUnderstanding of FX, particles, cloth, and hair as they contribute to a character’s performance and other facets of both 2D and 3D animation is essentialYour PlatformBest known for iconic video game universes including Warcraft®, Overwatch®, Diablo®, and StarCraft®, Blizzard Entertainment, Inc., a division of Activision Blizzard, which was acquired by Microsoft, is a premier developer and publisher of entertainment experiences. Blizzard Entertainment has created some of the industry’s most critically acclaimed and genre-defining games over the last 30 years, with a track record that includes multiple Game of the Year awards. Blizzard Entertainment engages tens of millions of players around the world with titles available on PC via Battle.net®, Xbox, PlayStation, Nintendo Switch, iOS, and Android.Our WorldActivision Blizzard, Inc., is one of the world's largest and most successful interactive entertainment companies and is at the intersection of media, technology and entertainment. We are home to some of the most beloved entertainment franchises including Call of Duty ®, World of Warcraft® , Overwatch ®, Diablo ®, Candy Crush ™ and Bubble Witch ™. Our combined entertainment network delights hundreds of millions of monthly active users in 196 countries, making us the largest gaming network on the planet!Our ability to build immersive and innovate worlds is only enhanced by diverse teams working in an inclusive environment. We aspire to have a culture where everyone can thrive in order to connect and engage the world through epic entertainment. We provide a suite of benefits that promote physical, emotional and financial well-being for ‘Every World’ - we’ve got our employees covered!The videogame industry and therefore our business is fast-paced and will continue to evolve. As such, the duties and responsibilities of this role may be changed as directed by the Company at any time to promote and support our business and relationships with industry partners.We love hearing from anyone who is enthusiastic about changing the games industry. Not sure you meet all qualifications? Let us decide! Research shows that women and members of other under-represented groups tend to not apply to jobs when they think they may not meet every qualification, when, in fact, they often do! We are committed to creating a diverse and inclusive environment and strongly encourage you to apply.We are committed to working with and providing reasonable assistance to individuals with physical and mental disabilities. If you are a disabled individual requiring an accommodation to apply for an open position, please email your request to accommodationrequests@activisionblizzard.com. General employment questions cannot be accepted or processed here. Thank you for your interest.We are an equal opportunity employer and value diversity at our company. We do not discriminate on the basis of race, religion, color, national origin, gender, sexual orientation, gender identity, age, marital status, veteran status, or disability status, among other characteristics.RewardsWe provide a suite of benefits that promote physical, emotional and financial well-being for ‘Every World’ - we’ve got our employees covered! Subject to eligibility requirements, the Company offers comprehensive benefits including:Medical, dental, vision, health savings account or health reimbursement account, healthcare spending accounts, dependent care spending accounts, life and AD&D insurance, disability insurance;401with Company match, tuition reimbursement, charitable donation matching;Paid holidays and vacation, paid sick time, floating holidays, compassion and bereavement leaves, parental leave;Mental health & wellbeing programs, fitness programs, free and discounted games, and a variety of other voluntary benefit programs like supplemental life & disability, legal service, ID protection, rental insurance, and others;If the Company requires that you move geographic locations for the job, then you may also be eligible for relocation assistance.Eligibility to participate in these benefits may vary for part time and temporary full-time employees and interns with the Company. You can learn more by visiting / .In the U.S., the standard base pay range for this role is - Hourly. These values reflect the expected base pay range of new hires across all U.S. locations. Ultimately, your specific range and offer will be based on several factors, including relevant experience, performance, and work location. Your Talent Professional can share this role’s range details for your local geography during the hiring process. In addition to a competitive base pay, employees in this role may be eligible for incentive compensation. Incentive compensation is not guaranteed. While we strive to provide competitive offers to successful candidates, new hire compensation is negotiable. Create Your Profile — Game companies can contact you with their relevant job openings. Apply #senior #animator #temp #sfd #cinematics
    Senior Animator – Temp (SFD / Cinematics) at Blizzard Entertainment
    Senior Animator – Temp (SFD / Cinematics)Blizzard EntertainmentSanta Monica California 90405 United States of America2 hours agoApplyTeam Name:CinematicsJob Title:Senior Animator – Temp (SFD / Cinematics)Requisition ID:R025214Job Description:Blizzard Entertainment is looking for a dedicated 3D animator to assist our Cinematics team in crafting the next generation of Epic animated films.What You Bring to the TablePriorities can often change in a fast-paced environment like ours, so this role includes, but is not limited to, the following responsibilities:The cinematic animator will be skilled at animating characters at a level that lives up to the ever-increasing Blizzard Entertainment standard of quality. The ideal candidate has a passion for animation and film making, with experience animating a diverse array of characters and creatures in different styles, from cartoony to realistic and anywhere in-between. A solid grasp of body mechanics and character acting with a mastery of the 12 principles of animation are critical. You must enjoy working on a highly collaborative team of peers as passionate about making phenomenal movies and games as we are. Blizzard Entertainment offers a fun, creative, and technically challenging environment with excellent compensation.This role is anticipated to be a hybrid work position, with some work on-site and some work-from-home. The potential home studio for this role is Irvine, CA. However, we understand each person’s circumstances may be unique and will work with you to explore other possible options, including remote work arrangements.This is roughly a 5-month temporary position.Minimum RequirementsExperience6+ years' experience in game development, television, or film industry using Maya or equivalent 3D programExperience working with Directors, Animation Supervisors and Leads developing, defining, and maintaining high-end cinematic animationsKnowledge & SkillsA demo reel demonstrating high quality hand-keyed animations through solid body mechanics and engaging performancesA solid grasp of body mechanics and character acting with a mastery of the 12 principles of animation are essentialKey AttributesPassion for film, animation, and video gamesSelf-motivation, good communication skills, and a great team-player attitudeAssist in supporting and evolving the Cinematics team with constructive feedback both technically and artisticallyExtra PointsArtistic skills: storyboarding, gesture drawing, 2D animation, compositionTechnical skills: rigging, scripting, and understanding of pipelinePhysical skills: acting, martial arts, and choreographyFilm making skills: cinematography, pre-visualization, editing, and story writingUnderstanding of FX, particles, cloth, and hair as they contribute to a character’s performance and other facets of both 2D and 3D animation is essentialYour PlatformBest known for iconic video game universes including Warcraft®, Overwatch®, Diablo®, and StarCraft®, Blizzard Entertainment, Inc. (www.blizzard.com), a division of Activision Blizzard, which was acquired by Microsoft (NASDAQ: MSFT), is a premier developer and publisher of entertainment experiences. Blizzard Entertainment has created some of the industry’s most critically acclaimed and genre-defining games over the last 30 years, with a track record that includes multiple Game of the Year awards. Blizzard Entertainment engages tens of millions of players around the world with titles available on PC via Battle.net®, Xbox, PlayStation, Nintendo Switch, iOS, and Android.Our WorldActivision Blizzard, Inc., is one of the world's largest and most successful interactive entertainment companies and is at the intersection of media, technology and entertainment. We are home to some of the most beloved entertainment franchises including Call of Duty ®, World of Warcraft® , Overwatch ®, Diablo ®, Candy Crush ™ and Bubble Witch ™. Our combined entertainment network delights hundreds of millions of monthly active users in 196 countries, making us the largest gaming network on the planet!Our ability to build immersive and innovate worlds is only enhanced by diverse teams working in an inclusive environment. We aspire to have a culture where everyone can thrive in order to connect and engage the world through epic entertainment. We provide a suite of benefits that promote physical, emotional and financial well-being for ‘Every World’ - we’ve got our employees covered!The videogame industry and therefore our business is fast-paced and will continue to evolve. As such, the duties and responsibilities of this role may be changed as directed by the Company at any time to promote and support our business and relationships with industry partners.We love hearing from anyone who is enthusiastic about changing the games industry. Not sure you meet all qualifications? Let us decide! Research shows that women and members of other under-represented groups tend to not apply to jobs when they think they may not meet every qualification, when, in fact, they often do! We are committed to creating a diverse and inclusive environment and strongly encourage you to apply.We are committed to working with and providing reasonable assistance to individuals with physical and mental disabilities. If you are a disabled individual requiring an accommodation to apply for an open position, please email your request to accommodationrequests@activisionblizzard.com. General employment questions cannot be accepted or processed here. Thank you for your interest.We are an equal opportunity employer and value diversity at our company. We do not discriminate on the basis of race, religion, color, national origin, gender, sexual orientation, gender identity, age, marital status, veteran status, or disability status, among other characteristics.RewardsWe provide a suite of benefits that promote physical, emotional and financial well-being for ‘Every World’ - we’ve got our employees covered! Subject to eligibility requirements, the Company offers comprehensive benefits including:Medical, dental, vision, health savings account or health reimbursement account, healthcare spending accounts, dependent care spending accounts, life and AD&D insurance, disability insurance;401(k) with Company match, tuition reimbursement, charitable donation matching;Paid holidays and vacation, paid sick time, floating holidays, compassion and bereavement leaves, parental leave;Mental health & wellbeing programs, fitness programs, free and discounted games, and a variety of other voluntary benefit programs like supplemental life & disability, legal service, ID protection, rental insurance, and others;If the Company requires that you move geographic locations for the job, then you may also be eligible for relocation assistance.Eligibility to participate in these benefits may vary for part time and temporary full-time employees and interns with the Company. You can learn more by visiting https://www.benefitsforeveryworld.com/ .In the U.S., the standard base pay range for this role is $38.85 - $71.83 Hourly. These values reflect the expected base pay range of new hires across all U.S. locations. Ultimately, your specific range and offer will be based on several factors, including relevant experience, performance, and work location. Your Talent Professional can share this role’s range details for your local geography during the hiring process. In addition to a competitive base pay, employees in this role may be eligible for incentive compensation. Incentive compensation is not guaranteed. While we strive to provide competitive offers to successful candidates, new hire compensation is negotiable. Create Your Profile — Game companies can contact you with their relevant job openings. Apply
    0 Yorumlar 0 hisse senetleri
  • Senior Animator – Temp (SFD / Cinematics) at Blizzard Entertainment

    Senior Animator – TempBlizzard EntertainmentTrenton New Jersey 08601 United States of America28 minutes agoApplyTeam Name:CinematicsJob Title:Senior Animator – TempRequisition ID:R025216Job Description:Blizzard Entertainment is looking for a dedicated 3D animator to assist our Cinematics team in crafting the next generation of Epic animated films.What You Bring to the TablePriorities can often change in a fast-paced environment like ours, so this role includes, but is not limited to, the following responsibilities:The cinematic animator will be skilled at animating characters at a level that lives up to the ever-increasing Blizzard Entertainment standard of quality. The ideal candidate has a passion for animation and film making, with experience animating a diverse array of characters and creatures in different styles, from cartoony to realistic and anywhere in-between. A solid grasp of body mechanics and character acting with a mastery of the 12 principles of animation are critical. You must enjoy working on a highly collaborative team of peers as passionate about making phenomenal movies and games as we are. Blizzard Entertainment offers a fun, creative, and technically challenging environment with excellent compensation.This role is anticipated to be a hybrid work position, with some work on-site and some work-from-home. The potential home studio for this role is Irvine, CA. However, we understand each person’s circumstances may be unique and will work with you to explore other possible options, including remote work arrangements.This is roughly a 5-month temporary position.Minimum RequirementsExperience6+ years' experience in game development, television, or film industry using Maya or equivalent 3D programExperience working with Directors, Animation Supervisors and Leads developing, defining, and maintaining high-end cinematic animationsKnowledge & SkillsA demo reel demonstrating high quality hand-keyed animations through solid body mechanics and engaging performancesA solid grasp of body mechanics and character acting with a mastery of the 12 principles of animation are essentialKey AttributesPassion for film, animation, and video gamesSelf-motivation, good communication skills, and a great team-player attitudeAssist in supporting and evolving the Cinematics team with constructive feedback both technically and artisticallyExtra PointsArtistic skills: storyboarding, gesture drawing, 2D animation, compositionTechnical skills: rigging, scripting, and understanding of pipelinePhysical skills: acting, martial arts, and choreographyFilm making skills: cinematography, pre-visualization, editing, and story writingUnderstanding of FX, particles, cloth, and hair as they contribute to a character’s performance and other facets of both 2D and 3D animation is essentialYour PlatformBest known for iconic video game universes including Warcraft®, Overwatch®, Diablo®, and StarCraft®, Blizzard Entertainment, Inc., a division of Activision Blizzard, which was acquired by Microsoft, is a premier developer and publisher of entertainment experiences. Blizzard Entertainment has created some of the industry’s most critically acclaimed and genre-defining games over the last 30 years, with a track record that includes multiple Game of the Year awards. Blizzard Entertainment engages tens of millions of players around the world with titles available on PC via Battle.net®, Xbox, PlayStation, Nintendo Switch, iOS, and Android.Our WorldActivision Blizzard, Inc., is one of the world's largest and most successful interactive entertainment companies and is at the intersection of media, technology and entertainment. We are home to some of the most beloved entertainment franchises including Call of Duty ®, World of Warcraft® , Overwatch ®, Diablo ®, Candy Crush ™ and Bubble Witch ™. Our combined entertainment network delights hundreds of millions of monthly active users in 196 countries, making us the largest gaming network on the planet!Our ability to build immersive and innovate worlds is only enhanced by diverse teams working in an inclusive environment. We aspire to have a culture where everyone can thrive in order to connect and engage the world through epic entertainment. We provide a suite of benefits that promote physical, emotional and financial well-being for ‘Every World’ - we’ve got our employees covered!The videogame industry and therefore our business is fast-paced and will continue to evolve. As such, the duties and responsibilities of this role may be changed as directed by the Company at any time to promote and support our business and relationships with industry partners.We love hearing from anyone who is enthusiastic about changing the games industry. Not sure you meet all qualifications? Let us decide! Research shows that women and members of other under-represented groups tend to not apply to jobs when they think they may not meet every qualification, when, in fact, they often do! We are committed to creating a diverse and inclusive environment and strongly encourage you to apply.We are committed to working with and providing reasonable assistance to individuals with physical and mental disabilities. If you are a disabled individual requiring an accommodation to apply for an open position, please email your request to accommodationrequests@activisionblizzard.com. General employment questions cannot be accepted or processed here. Thank you for your interest.We are an equal opportunity employer and value diversity at our company. We do not discriminate on the basis of race, religion, color, national origin, gender, sexual orientation, gender identity, age, marital status, veteran status, or disability status, among other characteristics.RewardsWe provide a suite of benefits that promote physical, emotional and financial well-being for ‘Every World’ - we’ve got our employees covered! Subject to eligibility requirements, the Company offers comprehensive benefits including:Medical, dental, vision, health savings account or health reimbursement account, healthcare spending accounts, dependent care spending accounts, life and AD&D insurance, disability insurance;401with Company match, tuition reimbursement, charitable donation matching;Paid holidays and vacation, paid sick time, floating holidays, compassion and bereavement leaves, parental leave;Mental health & wellbeing programs, fitness programs, free and discounted games, and a variety of other voluntary benefit programs like supplemental life & disability, legal service, ID protection, rental insurance, and others;If the Company requires that you move geographic locations for the job, then you may also be eligible for relocation assistance.Eligibility to participate in these benefits may vary for part time and temporary full-time employees and interns with the Company. You can learn more by visiting / .In the U.S., the standard base pay range for this role is - Hourly. These values reflect the expected base pay range of new hires across all U.S. locations. Ultimately, your specific range and offer will be based on several factors, including relevant experience, performance, and work location. Your Talent Professional can share this role’s range details for your local geography during the hiring process. In addition to a competitive base pay, employees in this role may be eligible for incentive compensation. Incentive compensation is not guaranteed. While we strive to provide competitive offers to successful candidates, new hire compensation is negotiable.

    Create Your Profile — Game companies can contact you with their relevant job openings.
    Apply
    #senior #animator #temp #sfd #cinematics
    Senior Animator – Temp (SFD / Cinematics) at Blizzard Entertainment
    Senior Animator – TempBlizzard EntertainmentTrenton New Jersey 08601 United States of America28 minutes agoApplyTeam Name:CinematicsJob Title:Senior Animator – TempRequisition ID:R025216Job Description:Blizzard Entertainment is looking for a dedicated 3D animator to assist our Cinematics team in crafting the next generation of Epic animated films.What You Bring to the TablePriorities can often change in a fast-paced environment like ours, so this role includes, but is not limited to, the following responsibilities:The cinematic animator will be skilled at animating characters at a level that lives up to the ever-increasing Blizzard Entertainment standard of quality. The ideal candidate has a passion for animation and film making, with experience animating a diverse array of characters and creatures in different styles, from cartoony to realistic and anywhere in-between. A solid grasp of body mechanics and character acting with a mastery of the 12 principles of animation are critical. You must enjoy working on a highly collaborative team of peers as passionate about making phenomenal movies and games as we are. Blizzard Entertainment offers a fun, creative, and technically challenging environment with excellent compensation.This role is anticipated to be a hybrid work position, with some work on-site and some work-from-home. The potential home studio for this role is Irvine, CA. However, we understand each person’s circumstances may be unique and will work with you to explore other possible options, including remote work arrangements.This is roughly a 5-month temporary position.Minimum RequirementsExperience6+ years' experience in game development, television, or film industry using Maya or equivalent 3D programExperience working with Directors, Animation Supervisors and Leads developing, defining, and maintaining high-end cinematic animationsKnowledge & SkillsA demo reel demonstrating high quality hand-keyed animations through solid body mechanics and engaging performancesA solid grasp of body mechanics and character acting with a mastery of the 12 principles of animation are essentialKey AttributesPassion for film, animation, and video gamesSelf-motivation, good communication skills, and a great team-player attitudeAssist in supporting and evolving the Cinematics team with constructive feedback both technically and artisticallyExtra PointsArtistic skills: storyboarding, gesture drawing, 2D animation, compositionTechnical skills: rigging, scripting, and understanding of pipelinePhysical skills: acting, martial arts, and choreographyFilm making skills: cinematography, pre-visualization, editing, and story writingUnderstanding of FX, particles, cloth, and hair as they contribute to a character’s performance and other facets of both 2D and 3D animation is essentialYour PlatformBest known for iconic video game universes including Warcraft®, Overwatch®, Diablo®, and StarCraft®, Blizzard Entertainment, Inc., a division of Activision Blizzard, which was acquired by Microsoft, is a premier developer and publisher of entertainment experiences. Blizzard Entertainment has created some of the industry’s most critically acclaimed and genre-defining games over the last 30 years, with a track record that includes multiple Game of the Year awards. Blizzard Entertainment engages tens of millions of players around the world with titles available on PC via Battle.net®, Xbox, PlayStation, Nintendo Switch, iOS, and Android.Our WorldActivision Blizzard, Inc., is one of the world's largest and most successful interactive entertainment companies and is at the intersection of media, technology and entertainment. We are home to some of the most beloved entertainment franchises including Call of Duty ®, World of Warcraft® , Overwatch ®, Diablo ®, Candy Crush ™ and Bubble Witch ™. Our combined entertainment network delights hundreds of millions of monthly active users in 196 countries, making us the largest gaming network on the planet!Our ability to build immersive and innovate worlds is only enhanced by diverse teams working in an inclusive environment. We aspire to have a culture where everyone can thrive in order to connect and engage the world through epic entertainment. We provide a suite of benefits that promote physical, emotional and financial well-being for ‘Every World’ - we’ve got our employees covered!The videogame industry and therefore our business is fast-paced and will continue to evolve. As such, the duties and responsibilities of this role may be changed as directed by the Company at any time to promote and support our business and relationships with industry partners.We love hearing from anyone who is enthusiastic about changing the games industry. Not sure you meet all qualifications? Let us decide! Research shows that women and members of other under-represented groups tend to not apply to jobs when they think they may not meet every qualification, when, in fact, they often do! We are committed to creating a diverse and inclusive environment and strongly encourage you to apply.We are committed to working with and providing reasonable assistance to individuals with physical and mental disabilities. If you are a disabled individual requiring an accommodation to apply for an open position, please email your request to accommodationrequests@activisionblizzard.com. General employment questions cannot be accepted or processed here. Thank you for your interest.We are an equal opportunity employer and value diversity at our company. We do not discriminate on the basis of race, religion, color, national origin, gender, sexual orientation, gender identity, age, marital status, veteran status, or disability status, among other characteristics.RewardsWe provide a suite of benefits that promote physical, emotional and financial well-being for ‘Every World’ - we’ve got our employees covered! Subject to eligibility requirements, the Company offers comprehensive benefits including:Medical, dental, vision, health savings account or health reimbursement account, healthcare spending accounts, dependent care spending accounts, life and AD&D insurance, disability insurance;401with Company match, tuition reimbursement, charitable donation matching;Paid holidays and vacation, paid sick time, floating holidays, compassion and bereavement leaves, parental leave;Mental health & wellbeing programs, fitness programs, free and discounted games, and a variety of other voluntary benefit programs like supplemental life & disability, legal service, ID protection, rental insurance, and others;If the Company requires that you move geographic locations for the job, then you may also be eligible for relocation assistance.Eligibility to participate in these benefits may vary for part time and temporary full-time employees and interns with the Company. You can learn more by visiting / .In the U.S., the standard base pay range for this role is - Hourly. These values reflect the expected base pay range of new hires across all U.S. locations. Ultimately, your specific range and offer will be based on several factors, including relevant experience, performance, and work location. Your Talent Professional can share this role’s range details for your local geography during the hiring process. In addition to a competitive base pay, employees in this role may be eligible for incentive compensation. Incentive compensation is not guaranteed. While we strive to provide competitive offers to successful candidates, new hire compensation is negotiable. Create Your Profile — Game companies can contact you with their relevant job openings. Apply #senior #animator #temp #sfd #cinematics
    Senior Animator – Temp (SFD / Cinematics) at Blizzard Entertainment
    Senior Animator – Temp (SFD / Cinematics)Blizzard EntertainmentTrenton New Jersey 08601 United States of America28 minutes agoApplyTeam Name:CinematicsJob Title:Senior Animator – Temp (SFD / Cinematics)Requisition ID:R025216Job Description:Blizzard Entertainment is looking for a dedicated 3D animator to assist our Cinematics team in crafting the next generation of Epic animated films.What You Bring to the TablePriorities can often change in a fast-paced environment like ours, so this role includes, but is not limited to, the following responsibilities:The cinematic animator will be skilled at animating characters at a level that lives up to the ever-increasing Blizzard Entertainment standard of quality. The ideal candidate has a passion for animation and film making, with experience animating a diverse array of characters and creatures in different styles, from cartoony to realistic and anywhere in-between. A solid grasp of body mechanics and character acting with a mastery of the 12 principles of animation are critical. You must enjoy working on a highly collaborative team of peers as passionate about making phenomenal movies and games as we are. Blizzard Entertainment offers a fun, creative, and technically challenging environment with excellent compensation.This role is anticipated to be a hybrid work position, with some work on-site and some work-from-home. The potential home studio for this role is Irvine, CA. However, we understand each person’s circumstances may be unique and will work with you to explore other possible options, including remote work arrangements.This is roughly a 5-month temporary position.Minimum RequirementsExperience6+ years' experience in game development, television, or film industry using Maya or equivalent 3D programExperience working with Directors, Animation Supervisors and Leads developing, defining, and maintaining high-end cinematic animationsKnowledge & SkillsA demo reel demonstrating high quality hand-keyed animations through solid body mechanics and engaging performancesA solid grasp of body mechanics and character acting with a mastery of the 12 principles of animation are essentialKey AttributesPassion for film, animation, and video gamesSelf-motivation, good communication skills, and a great team-player attitudeAssist in supporting and evolving the Cinematics team with constructive feedback both technically and artisticallyExtra PointsArtistic skills: storyboarding, gesture drawing, 2D animation, compositionTechnical skills: rigging, scripting, and understanding of pipelinePhysical skills: acting, martial arts, and choreographyFilm making skills: cinematography, pre-visualization, editing, and story writingUnderstanding of FX, particles, cloth, and hair as they contribute to a character’s performance and other facets of both 2D and 3D animation is essentialYour PlatformBest known for iconic video game universes including Warcraft®, Overwatch®, Diablo®, and StarCraft®, Blizzard Entertainment, Inc. (www.blizzard.com), a division of Activision Blizzard, which was acquired by Microsoft (NASDAQ: MSFT), is a premier developer and publisher of entertainment experiences. Blizzard Entertainment has created some of the industry’s most critically acclaimed and genre-defining games over the last 30 years, with a track record that includes multiple Game of the Year awards. Blizzard Entertainment engages tens of millions of players around the world with titles available on PC via Battle.net®, Xbox, PlayStation, Nintendo Switch, iOS, and Android.Our WorldActivision Blizzard, Inc., is one of the world's largest and most successful interactive entertainment companies and is at the intersection of media, technology and entertainment. We are home to some of the most beloved entertainment franchises including Call of Duty ®, World of Warcraft® , Overwatch ®, Diablo ®, Candy Crush ™ and Bubble Witch ™. Our combined entertainment network delights hundreds of millions of monthly active users in 196 countries, making us the largest gaming network on the planet!Our ability to build immersive and innovate worlds is only enhanced by diverse teams working in an inclusive environment. We aspire to have a culture where everyone can thrive in order to connect and engage the world through epic entertainment. We provide a suite of benefits that promote physical, emotional and financial well-being for ‘Every World’ - we’ve got our employees covered!The videogame industry and therefore our business is fast-paced and will continue to evolve. As such, the duties and responsibilities of this role may be changed as directed by the Company at any time to promote and support our business and relationships with industry partners.We love hearing from anyone who is enthusiastic about changing the games industry. Not sure you meet all qualifications? Let us decide! Research shows that women and members of other under-represented groups tend to not apply to jobs when they think they may not meet every qualification, when, in fact, they often do! We are committed to creating a diverse and inclusive environment and strongly encourage you to apply.We are committed to working with and providing reasonable assistance to individuals with physical and mental disabilities. If you are a disabled individual requiring an accommodation to apply for an open position, please email your request to accommodationrequests@activisionblizzard.com. General employment questions cannot be accepted or processed here. Thank you for your interest.We are an equal opportunity employer and value diversity at our company. We do not discriminate on the basis of race, religion, color, national origin, gender, sexual orientation, gender identity, age, marital status, veteran status, or disability status, among other characteristics.RewardsWe provide a suite of benefits that promote physical, emotional and financial well-being for ‘Every World’ - we’ve got our employees covered! Subject to eligibility requirements, the Company offers comprehensive benefits including:Medical, dental, vision, health savings account or health reimbursement account, healthcare spending accounts, dependent care spending accounts, life and AD&D insurance, disability insurance;401(k) with Company match, tuition reimbursement, charitable donation matching;Paid holidays and vacation, paid sick time, floating holidays, compassion and bereavement leaves, parental leave;Mental health & wellbeing programs, fitness programs, free and discounted games, and a variety of other voluntary benefit programs like supplemental life & disability, legal service, ID protection, rental insurance, and others;If the Company requires that you move geographic locations for the job, then you may also be eligible for relocation assistance.Eligibility to participate in these benefits may vary for part time and temporary full-time employees and interns with the Company. You can learn more by visiting https://www.benefitsforeveryworld.com/ .In the U.S., the standard base pay range for this role is $38.85 - $71.83 Hourly. These values reflect the expected base pay range of new hires across all U.S. locations. Ultimately, your specific range and offer will be based on several factors, including relevant experience, performance, and work location. Your Talent Professional can share this role’s range details for your local geography during the hiring process. In addition to a competitive base pay, employees in this role may be eligible for incentive compensation. Incentive compensation is not guaranteed. While we strive to provide competitive offers to successful candidates, new hire compensation is negotiable. Create Your Profile — Game companies can contact you with their relevant job openings. Apply
    0 Yorumlar 0 hisse senetleri
  • Fear Street: Prom Queen Director Sees Franchise as the Next Halloween

    Anyone who has seen the first three movies in theFear Street series knows that they’re indebted to horror of the past. Fear Street: 1994 borrowed from Scream‘s self-awareness. Fear Street: 1978 had a masked killer stalking a campground, just like Friday the 13th: Part II. The folk horror films from the 1960s and ’70s provided a model for Fear Street: 1666.
    Fear Street: Prom Queen breaks from the original trilogy though by telling a standalone story. For Prom Queen writer and director Matt Palmer, that division brings to mind another horror forerunner.
    “I keep thinking about Halloween III: The Season of the Witch, which I quite like even though it didn’t go well with audiences in the 1980s,” Palmer tells Den of Geek. Halloween III famously ditched Michael Myers for a new story about cursed masks and Celtic witches. It was an attempt to turn the series into an anthology instead of the continuing adventures of a silent killer.
    “I like that idea of a Halloween franchise, a world where you could just tell vastly different stories form different subgenres. I think there’s potential for that to happen in Fear Street.”

    The latest entry in the movie adaptations of author R.L. Stine‘s teen novels, Prom Queen follows teen Lori Granger, who becomes an unlikely prom queen favorite when a masked killer starts offing the competition. In addition to young stars such as Fowler, Suzanna Son, and Ariana Greenblatt, Prom Queen also features an impressive adult cast, which includes Lili Taylor, Katherine Waterston, and 2000s mainstay Chris Klein.
    But the most surprising name in the credits is Palmer’s, and not just because he takes the place of Leigh Janiak, who directed the first three films. Palmer’s debut Calibre focused on two Scottish young adults whose friendship is tested when a hunting trip goes horribly wrong. It’s rural and thoughtful, and a million miles from the 1980s American setting of Prom Queen. But to Palmer, the two films both feel complementary.
    “I guess there’s two of me,” he says, thoughtfully. “There’s one side of me that’s into heavier movies and quite intense thrillers in the Deliverance mold. But horror was my first love in terms of genre. I do a festival at an all-night horror event in the UK once a year. We show five horror movies from the ’70s and ’80s, all the way through the night.”
    That experience makes Prom Queen “a dream project” for Palmer, “making a movie that could potentially fit in with the ’80s movies I show at my event.”
    While there’s plenty of ’80s influence in Prom Queen, Palmer also adds elements of giallo, the lurid Italian murder mysteries that were precursors to the American slashers, especially with the look of the central masked killer.
    “I really liked the black leather raincoat and the black gloves in gialli, so I started from that,” says Palmer of his process of designing the killer. “Then our concept artist said the killer can’t be all black because they’ll get lost in the dark. So we started looking at a yellow coat but that felt a bit too much like Alice Sweet Alice—which was a visual influence on the movie. We looked at blue and then the concept artist announced red on red, and we were like ‘boom! Yeah!'”

    Palmer brought a similar level of erudition to designing what many would consider the most important part of a slasher: the over the top kills.

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    “One of the things I’ve noticed about modern slashers is that they sometimes don’t have wide shots in the kill scenes. I think that’s a mistake because I want the audience to understand the space where the kill is going to happen, and then you can start cutting into closer shots. Because then they can compute from that wide shot where people are. It makes the scene more frightening because you know where the dark spots are and you know how big the room is.”
    As academic as that approach may sound, Palmer’s careful to keep focused on the main thing, the blood and guts that audiences expect. “We shot all of the kill scenes in one day,” Plamer reveals. “Some of them have a lot of shots, so they were heavily storyboarded,” meaning that Palmer and his team made comic book style drawings of every shot in the sequence, so they could shoot them more efficiently.
    “There was a funny moment when we were storyboarding one of our kills and we got really excited about the lighting, because it’s somebody moving through different planes of lighting and you can see certain things. The storyboard artists and the director of photographystarted talking about this mist and the light, and it started turning into a real art film geek conversation, all about the mystery. Then the storyboard artist turns to me and asks, ‘so what happens next?'” and I said, “and then all her guts fall out.’ Lets’s not forget what kind of movie we were really making.”
    While that might sound like he’s committed to making a lean and mean slasher, and he did emphasize the fact that he wanted the film to come in under 90 minutes, Palmer does find surprising moments of stillness in Prom Queen.
    “I didn’t realize this until after Calibre, but I give scenes a bit of breathing space so you can be with the characters and go a bit deeper with them. But then in between scenes, the escalation of plot is quite steep.”

    He adds, “I prefer movies that are a bit more sedately paced, but sometimes I’m watching a movie from the ’80s and wondering, ‘Why are we holding here? Cut, cut, cut! I’ve got the information, so move on!’ People assimilate information faster now, so I’m trying to find that sweet spot where you can still have that breathing room to go a little bit deeper with the characters, but also be aware that people need things these days to move a bit quicker.”
    Palmer’s awareness of both classic horror and modern audiences make him a perfect choice for the Fear Street franchise, which has a huge audience among early teens, newcomers to the genre.
    “I feel like the characters should be youngsters and the focus should be on the younger characters,” Palmer explains. “I went to my first all-night horror event when I was 16. I was underage and it was the most exciting thing, and I think that’s the genesis of my process. I asked myself what kind of movie I would have wanted to see when I was 15 and tried to go back and capture a bit of that magic.”
    For the other big audience of Fear Street, Palmer had to go beyond himself and get some outside help. “I think there’s also a skew towards the female in Fear Street’s following, so we all wanted to have a female-led story. That was obviously a challenge for me because, you know, I’m male. Fortunately, I had really strong female producers on this to guide me if I went astray on any of the characterizations.”
    After seeing Prom Queen, most will agree that Palmer didn’t go astray in any regard, which raises some questions. Prom Queen may be a one-off, but does Palmer have more to say within the world of the series?
    “Well, I’ve had my dream project in the franchise, so I don’t want to be greedy. But If I was going to do another one, it would probably take place a couple of years later in the ’80s and be a Satanic Panic thing with ouija boards.”

    Palmer trails off here, not wanting to get ahead of myself. “But I’ve already had my Fear Street adventure,” he says with a smile and gesturing back to the Halloween-style anthology that he wants the franchise to become. Still, if Prom Queen hits with fans as well as the other Fear Street movies, it’s hard to imagine that we won’t Palmer making his Satanic Panic movie soon.
    Fear Street: Prom Queen arrives on Netflix on May 23, 2025.
    #fear #street #prom #queen #director
    Fear Street: Prom Queen Director Sees Franchise as the Next Halloween
    Anyone who has seen the first three movies in theFear Street series knows that they’re indebted to horror of the past. Fear Street: 1994 borrowed from Scream‘s self-awareness. Fear Street: 1978 had a masked killer stalking a campground, just like Friday the 13th: Part II. The folk horror films from the 1960s and ’70s provided a model for Fear Street: 1666. Fear Street: Prom Queen breaks from the original trilogy though by telling a standalone story. For Prom Queen writer and director Matt Palmer, that division brings to mind another horror forerunner. “I keep thinking about Halloween III: The Season of the Witch, which I quite like even though it didn’t go well with audiences in the 1980s,” Palmer tells Den of Geek. Halloween III famously ditched Michael Myers for a new story about cursed masks and Celtic witches. It was an attempt to turn the series into an anthology instead of the continuing adventures of a silent killer. “I like that idea of a Halloween franchise, a world where you could just tell vastly different stories form different subgenres. I think there’s potential for that to happen in Fear Street.” The latest entry in the movie adaptations of author R.L. Stine‘s teen novels, Prom Queen follows teen Lori Granger, who becomes an unlikely prom queen favorite when a masked killer starts offing the competition. In addition to young stars such as Fowler, Suzanna Son, and Ariana Greenblatt, Prom Queen also features an impressive adult cast, which includes Lili Taylor, Katherine Waterston, and 2000s mainstay Chris Klein. But the most surprising name in the credits is Palmer’s, and not just because he takes the place of Leigh Janiak, who directed the first three films. Palmer’s debut Calibre focused on two Scottish young adults whose friendship is tested when a hunting trip goes horribly wrong. It’s rural and thoughtful, and a million miles from the 1980s American setting of Prom Queen. But to Palmer, the two films both feel complementary. “I guess there’s two of me,” he says, thoughtfully. “There’s one side of me that’s into heavier movies and quite intense thrillers in the Deliverance mold. But horror was my first love in terms of genre. I do a festival at an all-night horror event in the UK once a year. We show five horror movies from the ’70s and ’80s, all the way through the night.” That experience makes Prom Queen “a dream project” for Palmer, “making a movie that could potentially fit in with the ’80s movies I show at my event.” While there’s plenty of ’80s influence in Prom Queen, Palmer also adds elements of giallo, the lurid Italian murder mysteries that were precursors to the American slashers, especially with the look of the central masked killer. “I really liked the black leather raincoat and the black gloves in gialli, so I started from that,” says Palmer of his process of designing the killer. “Then our concept artist said the killer can’t be all black because they’ll get lost in the dark. So we started looking at a yellow coat but that felt a bit too much like Alice Sweet Alice—which was a visual influence on the movie. We looked at blue and then the concept artist announced red on red, and we were like ‘boom! Yeah!'” Palmer brought a similar level of erudition to designing what many would consider the most important part of a slasher: the over the top kills. Join our mailing list Get the best of Den of Geek delivered right to your inbox! “One of the things I’ve noticed about modern slashers is that they sometimes don’t have wide shots in the kill scenes. I think that’s a mistake because I want the audience to understand the space where the kill is going to happen, and then you can start cutting into closer shots. Because then they can compute from that wide shot where people are. It makes the scene more frightening because you know where the dark spots are and you know how big the room is.” As academic as that approach may sound, Palmer’s careful to keep focused on the main thing, the blood and guts that audiences expect. “We shot all of the kill scenes in one day,” Plamer reveals. “Some of them have a lot of shots, so they were heavily storyboarded,” meaning that Palmer and his team made comic book style drawings of every shot in the sequence, so they could shoot them more efficiently. “There was a funny moment when we were storyboarding one of our kills and we got really excited about the lighting, because it’s somebody moving through different planes of lighting and you can see certain things. The storyboard artists and the director of photographystarted talking about this mist and the light, and it started turning into a real art film geek conversation, all about the mystery. Then the storyboard artist turns to me and asks, ‘so what happens next?'” and I said, “and then all her guts fall out.’ Lets’s not forget what kind of movie we were really making.” While that might sound like he’s committed to making a lean and mean slasher, and he did emphasize the fact that he wanted the film to come in under 90 minutes, Palmer does find surprising moments of stillness in Prom Queen. “I didn’t realize this until after Calibre, but I give scenes a bit of breathing space so you can be with the characters and go a bit deeper with them. But then in between scenes, the escalation of plot is quite steep.” He adds, “I prefer movies that are a bit more sedately paced, but sometimes I’m watching a movie from the ’80s and wondering, ‘Why are we holding here? Cut, cut, cut! I’ve got the information, so move on!’ People assimilate information faster now, so I’m trying to find that sweet spot where you can still have that breathing room to go a little bit deeper with the characters, but also be aware that people need things these days to move a bit quicker.” Palmer’s awareness of both classic horror and modern audiences make him a perfect choice for the Fear Street franchise, which has a huge audience among early teens, newcomers to the genre. “I feel like the characters should be youngsters and the focus should be on the younger characters,” Palmer explains. “I went to my first all-night horror event when I was 16. I was underage and it was the most exciting thing, and I think that’s the genesis of my process. I asked myself what kind of movie I would have wanted to see when I was 15 and tried to go back and capture a bit of that magic.” For the other big audience of Fear Street, Palmer had to go beyond himself and get some outside help. “I think there’s also a skew towards the female in Fear Street’s following, so we all wanted to have a female-led story. That was obviously a challenge for me because, you know, I’m male. Fortunately, I had really strong female producers on this to guide me if I went astray on any of the characterizations.” After seeing Prom Queen, most will agree that Palmer didn’t go astray in any regard, which raises some questions. Prom Queen may be a one-off, but does Palmer have more to say within the world of the series? “Well, I’ve had my dream project in the franchise, so I don’t want to be greedy. But If I was going to do another one, it would probably take place a couple of years later in the ’80s and be a Satanic Panic thing with ouija boards.” Palmer trails off here, not wanting to get ahead of myself. “But I’ve already had my Fear Street adventure,” he says with a smile and gesturing back to the Halloween-style anthology that he wants the franchise to become. Still, if Prom Queen hits with fans as well as the other Fear Street movies, it’s hard to imagine that we won’t Palmer making his Satanic Panic movie soon. Fear Street: Prom Queen arrives on Netflix on May 23, 2025. #fear #street #prom #queen #director
    WWW.DENOFGEEK.COM
    Fear Street: Prom Queen Director Sees Franchise as the Next Halloween
    Anyone who has seen the first three movies in theFear Street series knows that they’re indebted to horror of the past. Fear Street: 1994 borrowed from Scream‘s self-awareness. Fear Street: 1978 had a masked killer stalking a campground, just like Friday the 13th: Part II. The folk horror films from the 1960s and ’70s provided a model for Fear Street: 1666. Fear Street: Prom Queen breaks from the original trilogy though by telling a standalone story. For Prom Queen writer and director Matt Palmer, that division brings to mind another horror forerunner. “I keep thinking about Halloween III: The Season of the Witch, which I quite like even though it didn’t go well with audiences in the 1980s,” Palmer tells Den of Geek. Halloween III famously ditched Michael Myers for a new story about cursed masks and Celtic witches. It was an attempt to turn the series into an anthology instead of the continuing adventures of a silent killer. “I like that idea of a Halloween franchise, a world where you could just tell vastly different stories form different subgenres. I think there’s potential for that to happen in Fear Street.” The latest entry in the movie adaptations of author R.L. Stine‘s teen novels, Prom Queen follows teen Lori Granger (India Fowler), who becomes an unlikely prom queen favorite when a masked killer starts offing the competition. In addition to young stars such as Fowler, Suzanna Son, and Ariana Greenblatt, Prom Queen also features an impressive adult cast, which includes Lili Taylor, Katherine Waterston, and 2000s mainstay Chris Klein. But the most surprising name in the credits is Palmer’s, and not just because he takes the place of Leigh Janiak, who directed the first three films. Palmer’s debut Calibre focused on two Scottish young adults whose friendship is tested when a hunting trip goes horribly wrong. It’s rural and thoughtful, and a million miles from the 1980s American setting of Prom Queen. But to Palmer, the two films both feel complementary. “I guess there’s two of me,” he says, thoughtfully. “There’s one side of me that’s into heavier movies and quite intense thrillers in the Deliverance mold. But horror was my first love in terms of genre. I do a festival at an all-night horror event in the UK once a year. We show five horror movies from the ’70s and ’80s, all the way through the night.” That experience makes Prom Queen “a dream project” for Palmer, “making a movie that could potentially fit in with the ’80s movies I show at my event.” While there’s plenty of ’80s influence in Prom Queen, Palmer also adds elements of giallo, the lurid Italian murder mysteries that were precursors to the American slashers, especially with the look of the central masked killer. “I really liked the black leather raincoat and the black gloves in gialli, so I started from that,” says Palmer of his process of designing the killer. “Then our concept artist said the killer can’t be all black because they’ll get lost in the dark. So we started looking at a yellow coat but that felt a bit too much like Alice Sweet Alice—which was a visual influence on the movie. We looked at blue and then the concept artist announced red on red, and we were like ‘boom! Yeah!'” Palmer brought a similar level of erudition to designing what many would consider the most important part of a slasher: the over the top kills. Join our mailing list Get the best of Den of Geek delivered right to your inbox! “One of the things I’ve noticed about modern slashers is that they sometimes don’t have wide shots in the kill scenes. I think that’s a mistake because I want the audience to understand the space where the kill is going to happen, and then you can start cutting into closer shots. Because then they can compute from that wide shot where people are. It makes the scene more frightening because you know where the dark spots are and you know how big the room is.” As academic as that approach may sound, Palmer’s careful to keep focused on the main thing, the blood and guts that audiences expect. “We shot all of the kill scenes in one day,” Plamer reveals. “Some of them have a lot of shots, so they were heavily storyboarded,” meaning that Palmer and his team made comic book style drawings of every shot in the sequence, so they could shoot them more efficiently. “There was a funny moment when we were storyboarding one of our kills and we got really excited about the lighting, because it’s somebody moving through different planes of lighting and you can see certain things. The storyboard artists and the director of photography [Márk Gyõri] started talking about this mist and the light, and it started turning into a real art film geek conversation, all about the mystery. Then the storyboard artist turns to me and asks, ‘so what happens next?'” and I said, “and then all her guts fall out.’ Lets’s not forget what kind of movie we were really making.” While that might sound like he’s committed to making a lean and mean slasher, and he did emphasize the fact that he wanted the film to come in under 90 minutes, Palmer does find surprising moments of stillness in Prom Queen. “I didn’t realize this until after Calibre, but I give scenes a bit of breathing space so you can be with the characters and go a bit deeper with them. But then in between scenes, the escalation of plot is quite steep.” He adds, “I prefer movies that are a bit more sedately paced, but sometimes I’m watching a movie from the ’80s and wondering, ‘Why are we holding here? Cut, cut, cut! I’ve got the information, so move on!’ People assimilate information faster now, so I’m trying to find that sweet spot where you can still have that breathing room to go a little bit deeper with the characters, but also be aware that people need things these days to move a bit quicker.” Palmer’s awareness of both classic horror and modern audiences make him a perfect choice for the Fear Street franchise, which has a huge audience among early teens, newcomers to the genre. “I feel like the characters should be youngsters and the focus should be on the younger characters,” Palmer explains. “I went to my first all-night horror event when I was 16. I was underage and it was the most exciting thing, and I think that’s the genesis of my process. I asked myself what kind of movie I would have wanted to see when I was 15 and tried to go back and capture a bit of that magic.” For the other big audience of Fear Street, Palmer had to go beyond himself and get some outside help. “I think there’s also a skew towards the female in Fear Street’s following, so we all wanted to have a female-led story. That was obviously a challenge for me because, you know, I’m male. Fortunately, I had really strong female producers on this to guide me if I went astray on any of the characterizations.” After seeing Prom Queen, most will agree that Palmer didn’t go astray in any regard, which raises some questions. Prom Queen may be a one-off, but does Palmer have more to say within the world of the series? “Well, I’ve had my dream project in the franchise, so I don’t want to be greedy. But If I was going to do another one, it would probably take place a couple of years later in the ’80s and be a Satanic Panic thing with ouija boards.” Palmer trails off here, not wanting to get ahead of myself. “But I’ve already had my Fear Street adventure,” he says with a smile and gesturing back to the Halloween-style anthology that he wants the franchise to become. Still, if Prom Queen hits with fans as well as the other Fear Street movies, it’s hard to imagine that we won’t Palmer making his Satanic Panic movie soon. Fear Street: Prom Queen arrives on Netflix on May 23, 2025.
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