![]() “You could move the camera only about 30 degrees, but, in keeping the characters to be able to stand up to that, I wanted brush strokes in every single shot that you see so that it keeps the idea of the artist’s hand present at all times,” Wu continued. And we even chose the same lensing package from ‘Game of Thrones,’ having worked there, and we wanted to only use natural lighting, with the event of some bounce light to just kind of light the space.”Īll of the sets were built in 3D, and once they picked their shot, they did live action-style previs and handed it over to Blue Spirit, where they painted and projection mapped it to the actual 3D element. “What you don’t see in TV animation is an understanding of lensing, so I asked all my directors that come from animation to study up on lensing. “The live-action look to it comes from camera and also making sure that every single shot had a lensing assignment to it,” Wu added. For that, Blue Spirit used a reliable 2 1/2 D projection mapping technique that allowed them to retain a two-dimensional art house quality. ![]() Wu, who directed “Hammerscale” and the final episode, “The Great Fire of 1657,” strove to be culturally authentic and maintained that the scripts were so well-written that they just had to render them. I wanted to achieve a simple introduction of adult drama into animation that we do in the East all the time but you just have not seen here in the West.” “I didn’t want to skimp on not showing those wide shots and not showing more than two locations, and that’s what makes a show epic aside from the filmmaking aspect of seeing different parts of Japan, seeing different architecture, seeing different environments. “When I sat down, I said I wanted to do what ‘Game of Thrones’ did for TV with this - the kind of epic, intimate, political, feature quality filmmaking,” Wu told IndieWire. It’s just the first of the flamboyant geysers and severed limbs to come with every swing of her blade. The blood gushes like paint and decorates a banner. We’re first introduced to Mizu in Episode 1 (“Hammerscale”) when she walks into a steamy soba shop wearing tinted glasses and a low-hanging jingasa hat and severs the hand of a despicable flesh trader (Randall Park) with her extraordinary blade made from a meteorite. “But we knew exactly what she wanted, and that’s revenge. “Nobody would’ve wanted to look white like that,” Noizumi said. The development of Mizu was razor-focused, stemming from the fact that in the Edo period starting in 17th-century Japan, it would’ve been illegal to be white. ![]() “And we wanted people to treat it as if they were watching ‘Game of Thrones,'” he told IndieWire, “and that they could forget that it’s animated and have as high an attachment to these characters.” Green added that they wanted to make sure they had an answer for the animated artists coming from the children’s sphere and unused to drawing such adult characters and situations. “Whether it was people walking through a snowstorm, a sunset, a slit throat, or a couple having sex for the first time.” “We wanted everything in the show to be as beautiful as possible with every tool available in animation,” she continued. You have to bring that intention into the artistry of it,” Noizumi told IndieWire. ![]() “We went into it as live-action people naive enough to think that the only difference between an animated show that people are used to and one that played like a live-action show was just intention, and it turns out it’s a lot more than that. In fact, the idea came to Noizumi while observing their blue-eyed daughter and imagining a female-driven, mixed-race story about a “blue eye samurai.” It took 10 years until they finally realized that adult animation was the best approach. This was achieved with the collaboration of production designer Toby Wilson, costume designer Suttirat Larlarb, and the animation team at Blue Spirit (based in France and Canada). The chief partner in translating their script into animation was supervising director/producer Jane Wu (“Men in Black” animated series, and story artist on “Spider-Man: Into the Spider-Verse” and “Game of Thrones”), whose vision was making animation with a live-action attitude. The series was created by the married team of Amber Noizumi (a former journalist) and Michael Green (Branagh’s Hercule Poirot franchise and “American Gods”). Wait, Did the 2024 PGA Awards Nods Just Predict How the Best Picture Oscar Nominations Will Go? ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |