I never thought in a million years that I would have the opportunity to visit Pixar headquarters in Emeryville, California— but as luck would have it (and I am constantly pinching myself to make sure the life I'm living is real!) I was invited to get an inside look at Disney-Pixar's newest movie, INSIDE OUT.
One of the coolest things about attending a press day at an animation studio is getting to go behind-the-scenes to take a peek at how the films are made. There are always unique challenges when it comes to the world of animation because the technology advances with each passing year, and studios' always want to be on the cutting edge. While live action features only take a few years to complete, animations can take 5 years or more, as was the case with INSIDE OUT.
On the agenda for my press visit were two very unique opportunities. The first was a look from behind the camera with Director of Photography Patrick Lin at the world inside and out of Riley’s mind, and the second was an overview of the technical challenges the Lighting team had on the film with Lighting Artist Angelique Reisch.
Here are some of the interesting takeaways from each presentation.
Behind the Camera with Director of Photography Patrick Lin
- In the computer animation world, the order is camera, action, lights vs. live action which is lights, camera, action.
- The camera sets up the foundation for other departments in animation.
- Patrick and his team start with storyboards as a guide. Use visual storytelling to define two worlds.
- A complete 3D visual set is made that is set up like a live action movie with cameras – but animated!
- INSIDE OUT was the first film that Pixar used virtual lenses modeled off real lenses.
- The "virtual" Cooke54 14mm distortion lens was used for the mind world - more imperfections.
- The "virtual" Ultra prime lens was used for the real world - minimum distortion.
- Outside world is based on real locations, flawed. Mind world can be perfect.
- Mechanical movement for real world - controlled.
- Organic steadycam for mind world - handheld.
- Visual progression – mapped out riley’s emotions throughout the film.
- A "virtual" 30’s style studio camera was used for the first shots.
- The team took real world camera shots like Casablanca and the King and I to setup animation.
- Riley is often in the center because she is the center of her family’s world - until she changes.
Technical Challenges with Lighting Artist Angelique Reisch
- INSIDE OUT was one of the most challenging films to light.
- Joy is a light source.
- Joy is so bright that there is little value with shaping – so she was shaped with color.
- Each mind character has interglow lights.
- Lighting animation is similar to cinematic – every light is created from scratch.
- Lighting makes scenes pop and visually appealing.
- Start with a pastel which is created into a color script.
- Approximately 2 lighting shots were approved per week.
- Principles of lighting: Directing viewers eye; Creating depth; Enhancing mood, atmosphere and drama; Convey time of day; and Revealing characters personality and situation.
- Human world vs. mind world = saturation vs. desaturation.
- A new Renderman light program was received early for use in the film – proprietary geometry light software from Lumos.
INSIDE OUT opens in theaters June 19th!
Based in Headquarters, the control center inside 11-year-old Riley’s mind, five Emotions are hard at work, led by lighthearted optimist Joy (voice of Amy Poehler), whose mission is to make sure Riley stays happy. Fear (voice of Bill Hader) heads up safety, Anger (voice of Lewis Black) ensures all is fair and Disgust (voice of Mindy Kaling) prevents Riley from getting poisoned—both physically and socially. Sadness (voice of Phyllis Smith) isn’t exactly sure what her role is, and frankly, neither is anyone else.
When Riley's family relocates to a scary new city, the Emotions are on the job, eager to help guide her through the difficult transition. But when Joy and Sadness are inadvertently swept into the far reaches of Riley’s mind— taking some of her core memories with them—Fear, Anger and Disgust are left reluctantly in charge. Joy and Sadness must venture through unfamiliar places—Long Term Memory, Imagination Land, Abstract Thought and Dream Productions—in a desperate effort to get back to Headquarters, and Riley.
Special thanks to Disney-Pixar for hosting me. All opinions are my own.
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