![]() ![]() If we want to break new grounds with animation, it’s up to us to come up with visual ideas that challenge our viewers in new ways. Of course, just to be clear, it’s not a new D. Was it 2D or 3D? Who the hell cares? It broke all my expectations and dazzled me almost like a new genre of animation. I bounced between trying to analyze what I see to forcing myself to sit back and enjoy the experience. I fought the urge to pull out my phone and start taking notes on all the things they did different. I was like a student of animation all over again. I found myself staring at the big screen, trying to figure out how they did this, or that. The film kept playing with my expectations. I felt something I haven’t felt in a very very long time: Watching something new. But it also might be because most animated films feel the same.įrom the first minute I sat in the theater to watch Into the Spider-Verse, I knew I was watching something different. Like I need to be in on what’s new so I don’t get left out of the conversation. Sometimes I feel like I watch them because I have to. Honestly, I got bored of animated films in recent years. Japanese anime is also rather visually predictable, and Laika has mastered stop motion to the point that it almost looks like a CG film. Yes, Disney has its style and Pixar is known for creating amazing worlds, and Illumination is still trying to go the other way with more edgy humor and cartoony character. The people behind Spiderman Into the Spider-Verse found at least one answer to that question.Īt this point we all know what to expect when we go to the movies to watch an animated film. Now that we can make everything we can possible dream of – where do we go from here? Then the question had to be asked – what’s next? The fidelity is incredible and there seem to be no limit to what we can produce with computer animation. Films looked better and better each year.Īt some point, all films just look amazing. Getting better and better renders, producing more realistic results. Once the switch was made, the industry worked harder and harder to push the art form as much as possible. It was obvious that Toy Story looks completely different from Lion King. When the industry first made the transition from traditional 2D to 3D computers animation, the shift was very clear. We're trying to combine them into something that feels unified.It doesn’t look like 3D animation, but it’s also not really 2D as we know it. Another way we talk about it is that it's basically combining CG animation, 2D hand-drawn animation, comic book art, and street art. Rothman: Yeah, that approach basically makes the compositions stronger – or at least, that's the goal. Even live-action with CG VFX, they put motion blur on it because it just helps soften it, and we were just looking for something that felt a little more punchy. ![]() And then the final little reason why it's so crisp is that there's not one frame of motion blur anywhere in the movie. ![]() But it really just makes it feel crunchy and crispy and – So we stripped out everything, we animated this on twos, and they had to write a bunch of new algorithms and things to try to make up for the lost simulations of all that stuff, like hair and cloth. In traditional hand-drawn animation, you only needed twelve drawings to fill it up because your eye can't catch that little – you can hold a drawing for two frames, but if you hold a drawing for three, your eye can kind of catch the fact that it's being held. Then the final thing that really makes it feel a lot different is, there's 24 frames a second in film, and in all CGI right now, there's a new image for every frame of movement. ![]()
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