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Adding the third-dimension to the Smurfs revival
By Xu Wei |
August 14, 2011, Sunday
|
Print Edition
Print Edition
THE American animated TV series "The Smurfs" (1981), based on the comic created by Belgian cartoonist Peyo in 1958 appealed to a wide audience all over the world. When it was introduced to China in 1986, it impressed a whole generation of Chinese people, many of whom can still sing its theme song.
As a guest of last week's China Animation Market, Dan Lobl, computer graphics supervisor of the new 3D film featuring the little blue creatures, talked about making the movie.
Lobl began his career in visual effects after graduating from the University of California's Institute for Data Analysis and Visualization. His expertise encompasses lighting and compositing for live action and feature animation projects, fluid simulation, and techniques for procedural geometry and crowd rendering.
He joined Sony Pictures Imageworks in 2003 as a technical director on "Spider-Man 2," the 2005 Academy Awards winner for Achievement in Visual Effects. Since then he has served as a look development lead artist on "Open Season" (2006) and as a character look development and lighting lead for "Spider-Man 3" (2007), before supervising computer graphics on "G-Force" (2009), "Cats and Dogs 2" (2010) and "The Smurfs" (2011).
He also worked at George Lucas' Industrial Light & Magic on many projects including "Terminator 3: Rise of the Machines" (2003) and Harry Potter films.
Q: What's the highlight of the 3D film? Who's the film's target audience?
A: The TV series was popular among a generation who are now grown up, mostly in their 30s. I was surprised and excited when I was told that we would remake the TV series into a 3D film. I like it but I am not sure whether it would still be favored by today's audience.
I think the film is mainly targeted at children from six to 12 years old, as well as their parents who are eager to watch.
Q: Do you feel pressured if the Smurfs in the movie are different from the Smurfs from people's memories? What's the challenge in making this 3D version?
A: We had a lot of debate. Everyone who has seen the TV series has different memories. Finally we listened to our director. He made decisions.
During the production, character design is the main challenge for us. In the movie version, the 7-inch-tall Smurfs have to interact with human-scale objects and scenes. We try to make the Smurfs look very cute, but realistic. We want them to behave more like a human. They're playful and adventurous, and their lines are designed to be humorous. We also need to figure out the color for the Smurf blood and what the Smurf skeleton looks like.
Q: How much do you know about Chinese animation? What's your expectation for its future development?
A: Chinese culture is becoming more and more popular these days in the United States. I think the animation industry will have a very bright and good future here in China. Perhaps it's a good idea to set the film's sequel in China.
Q: What are the most important requirements to produce an impressive and appealing animation?
A: A good script is the most important thing. Character design is also very important. I care about technology, but I think technology is the least important. Any animation work without a good story would be boring.
Q: What do you think the role of 3D plays in a movie? Will it become an inevitable trend in film making?
A: It's a topic debated a lot. It is best that you intend to make a movie in 3D from the very beginning. My opinion is to shoot the film with two cameras - 2D and 3D. 3D makes people feel more immersed, but content is the king. Some people enjoy watching a 3D film while some don't.
It largely depends on how to use it. In my eyes, a story-driven film is not very appropriate for the 3D version as people may focus too much on the environment instead of the story line. But 3D technology can offer the audience more stunning visual effects in such films featuring sports events, concerts and fight scenes.
As a guest of last week's China Animation Market, Dan Lobl, computer graphics supervisor of the new 3D film featuring the little blue creatures, talked about making the movie.
Lobl began his career in visual effects after graduating from the University of California's Institute for Data Analysis and Visualization. His expertise encompasses lighting and compositing for live action and feature animation projects, fluid simulation, and techniques for procedural geometry and crowd rendering.
He joined Sony Pictures Imageworks in 2003 as a technical director on "Spider-Man 2," the 2005 Academy Awards winner for Achievement in Visual Effects. Since then he has served as a look development lead artist on "Open Season" (2006) and as a character look development and lighting lead for "Spider-Man 3" (2007), before supervising computer graphics on "G-Force" (2009), "Cats and Dogs 2" (2010) and "The Smurfs" (2011).
He also worked at George Lucas' Industrial Light & Magic on many projects including "Terminator 3: Rise of the Machines" (2003) and Harry Potter films.
Q: What's the highlight of the 3D film? Who's the film's target audience?
A: The TV series was popular among a generation who are now grown up, mostly in their 30s. I was surprised and excited when I was told that we would remake the TV series into a 3D film. I like it but I am not sure whether it would still be favored by today's audience.
I think the film is mainly targeted at children from six to 12 years old, as well as their parents who are eager to watch.
Q: Do you feel pressured if the Smurfs in the movie are different from the Smurfs from people's memories? What's the challenge in making this 3D version?
A: We had a lot of debate. Everyone who has seen the TV series has different memories. Finally we listened to our director. He made decisions.
During the production, character design is the main challenge for us. In the movie version, the 7-inch-tall Smurfs have to interact with human-scale objects and scenes. We try to make the Smurfs look very cute, but realistic. We want them to behave more like a human. They're playful and adventurous, and their lines are designed to be humorous. We also need to figure out the color for the Smurf blood and what the Smurf skeleton looks like.
Q: How much do you know about Chinese animation? What's your expectation for its future development?
A: Chinese culture is becoming more and more popular these days in the United States. I think the animation industry will have a very bright and good future here in China. Perhaps it's a good idea to set the film's sequel in China.
Q: What are the most important requirements to produce an impressive and appealing animation?
A: A good script is the most important thing. Character design is also very important. I care about technology, but I think technology is the least important. Any animation work without a good story would be boring.
Q: What do you think the role of 3D plays in a movie? Will it become an inevitable trend in film making?
A: It's a topic debated a lot. It is best that you intend to make a movie in 3D from the very beginning. My opinion is to shoot the film with two cameras - 2D and 3D. 3D makes people feel more immersed, but content is the king. Some people enjoy watching a 3D film while some don't.
It largely depends on how to use it. In my eyes, a story-driven film is not very appropriate for the 3D version as people may focus too much on the environment instead of the story line. But 3D technology can offer the audience more stunning visual effects in such films featuring sports events, concerts and fight scenes.
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