There are just some films that need a stronger conclusion, Wall-E just so happens to be one of those films (As quoted by end title sequence director Jim Capobianca: "The main goal of the credits was to finish the story"), the animation is notably done in a variety of styles ranging from stone age cave paintings to impressionists paintings (With 8-bit sprites ironically popping up on the sides of the credits after, seeing that it is considered the most primitive sort of computer graphics), to obviously showcase how human civilization is able to start all over again as they work together to restore Earth and its environment. The colors used are positively fiery and exciting (While not as colorful as the ones used for Monsters, Inc.), matching well with the retro style that is used throughout the film, really strong shades of red and blue are used to contrast deeply with the solid black used for most of the figures shown in the sequence (The characters tend to be shown as silhouettes most of the time, and if not, only one or two extra colors are added in for details such as the hair or clothing). While the vector style might seem plain to some, it especially works and matches the setting and tone of the film, in fact such a style seems to make it seem all the more dynamic than a more detailed art style would. The style that is used is based on the graphic style that emerged at the beginning of the 50s, it also almost looks pop-artish in a way, with the modern and slick elements used.
While one font seems to be used throughout, it is played around a lot in terms of colors, effects and of course sizing. But instead of being in front of a camera, you're taking the performance and breaking it down into tiny little 24th of a second increments, and expressing those in anĪbstract mathematical function.A comedy superhero film written by Brad Bird (Known for directing The Iron Giant), the film focuses on a family of superheroes who are forced to hide their powers and live a quiet suburban life, of course things do not remain as they are when Mr Incredible is one day given the chance to relive his glory days by a mysterious woman known as Mirage.Īs the film is a clear homage to 1960s comics and films (It always helps when a film has a pretty fixed setting, or at least a really solid inspiration behind it), it probably wasn't all that difficult figuring out the design for the title sequence, dynamic is one way to put it, awesomely retro is another way to put it. The computer helps us a lot, but ultimately this job So, the way we define the speed of the in-betweens will make the difference between the train looking light or the train looking heavy. IncredibleĬould do amazing things but that it took a lot Now, in animation, you can make that seem really quick and easy, but the director didn't want that. Incredible in this scene, the animation needs to show him lifting up a train car. And this gets even more exciting when you're looking at aĬharacter and their physics because how a character moves says a lot about who they are. Once I answer these questions, I can choose what kind of spline I think will have thatĮffect in the motion. Is the ball heavy and depressed like this? Or maybe it's happy. As an animator, it's my job to bring to life a specific character. Looks more realistic, but it's still pretty generic. I can adjust the shape of the spline to change the timing. Now from physics we know that the ball should accelerate on the way down and decelerate on the way up. By default, the computer makes a linear interpolation of the motion and we get something that The computer draws all the other frames by evaluating the spline. I'm going to make itīounce from here to here with four main poses that I define by setting keyframes.
The simplest way to see this spline idea is through a bouncing ball. But each can be described using a mathematical function called a spline. And there are many different ways of filling in the in-betweens.
We refine the in-betweens to turn this robotic motion intoĪ polished performance like this. Of course, the computer can't act, so it gives us this. These in-betweens are the result of a computer interpreting what motion would move an image from The poses we create are translated into coordinates that are
In computer animation, we animate by moving virtual digital models. We call in-betweens that connect the motionįrom one pose to another.
PIXAR INTRO ANIMATION SERIES
Animators draw key poses and then draw a series of pictures Making changes to a series of images and playing those images back in sequence. Before we talk about computer animation and algorithms and all that, let's just talk about whatĪnimation is at it's core. Hi, I'm Rob Jensen, and I'm an animator.
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