New Text Document

ComingSoon.net | New Movies, Movie Trailers, DVD, TV & Video Game News!
Comingsoo
n on FacebookFollow us on TwitterFollow us on YoutubeComingsoon on Google plusCo
mingsoon on PinterestComingsoon on instagramComingsoon on RSS
HOME
MOVIES
TV
STREAMING
GAMES
TRAILERS
DVD
CHANNELS
Search
Behind the Scenes of Pixar Animation s Inside Out
INSIDE OUT
BY EDWARD DOUGLAS ON MAY 26, 2015
400
image: http://cdn2-www.comingsoon.net/assets/uploads/2015/05/InsideOutBar640.jpg
ComingSoon.net visited Pixar Animation Studios in Emeryville, California, to get
an inside look at their upcoming movie Inside Out.
Last week, the first reviews for Pixar Animation s Inside Out popped up (including
our own), following the movie s premiere at the Cannes Film Festival, but now we
want to go back in time to early April when ComingSoon.net had a chance to visit
Pixar Animation Studios in Emeryville, California and get to look into the mind
s of the creative people that made Inside Out a reality.
Hopefully, you ve already checked out our interview with director Pete Docter and
producer Jonas Rivera and we ll have more from both of them soon but we want to get mo
re into the production process behind how the creative folks at Pixar were able
to take Pete and Jonas s initial concept and turn it into a full-fledged feature f
ilm.
As you hopefully know by now, Inside Out revolves around an 11-year-old girl nam
ed Riley who is dealing with her parents moving her to San Francisco, but it tel
ls the story from inside her mind as five emotions: Joy, Sadness, Anger, Fear an
d Disgust (voiced by Amy Poehler, Phyllis Smith, Lewis Black, Bill Hader and Min
dy Kaling, respectively) wrangle for control. It s Docter and Rivera s follow-up to
their Oscar-winning animated feature Up, which received four other Oscars includ
ing a win for Michael Giacchino s score.
On our visit, we really didn t follow the creative path in any sort of order in te
rms of how production progress we just went from one conference room to the next,
sitting in for each presentation but we ll try to make things easier to follow by sh
ifting things around into a chronological order.
Creating the Look With Ralph Eggleston
image: http://cdn1-www.comingsoon.net/assets/uploads/2015/05/pixarinsideoutbts2.
jpg
INSIDE OUT
Production Design is one of the earliest stages of planning once a Pixar filmmak
er comes up with an idea and a script is written, because that key department ha
s to help design the world and the characters while the script is still being de
veloped. Production Designer Ralph Eggleston has been involved in Pixar s art and
animation almost from the beginning. He was the Art Director on Toy Story, the P
roduction Designer on Finding Nemo, WALL E and now Inside Out (after being involve
d with Docter s previous two Pixar films), and he also directed the short film For
the Birds, which won an Oscar in 2002. Needless to say, he s another one of Pixar
Animation s staff members who has been at the company so long that he has all sor
ts of great stories.
The office where Eggleston did his presentation was similarly surrounded by all
sorts of early paintings and concept art done by him and his art team to try to
visualize the ideas from Docter and his co-screenwriters Meg LeFauve and Josh Co
oley, the film s Head of Story. (We actually would see more of the early concept a
rt, designs and maquettes when we would take the Pixar studio tour later.) He wa
lked us through the artwork showing some of the designs for the Headquarters and
the various personality islands that are created inside Riley s mind. He also sho
wed us early concept for other areas within Riley s mind like Imagination Land, Dr
eam Productions and the Subconscious where Joy and Sadness end up on their journ
ey. As we d learn during our visit, the dinner table scene where we get to look in
side the minds of Riley s mother and father was pivotal to them finding the tone b
ehind the concept.
Visualizing the Story with Ronnie Del Carmen
jpg
INSIDE OUT
The next step begins shortly after that as the story department starts breaking
down the script into storyboards and Docter s co-director Ronnie Del Carmen talked
to us through the process of how Pixar s artists gather in a room to spitball and
draw ideas. A great deal of what they do at Pixar is to draw the story rather tha
n write it, and Del Carmen proceeded to talk us through the storyboards for an e
xtended scene of Joy trying to cheer Sadness up because she was being so gloomy.
Del Carmen confirmed what Eggleston told us about the dinner scene between Rile
y and her parents being one of the first ideas that everyone in the room loved.
It was a strong enough sequence that it carried through the initial marketing of
the film when Disney first showed footage from Inside Out at D23 in 2013.
Later, we had a chance to talk to co-director Ronnie Del Carmen more about his b
ackground at Pixar and how he came onto the project as Docter s co-director for any
one who may want to get into animation and work at Pixar themselves.
ComingSoon.net: How long have you been at Pixar?
Ronnie Del Carmen: I ve been at Pixar for 15 years.
CS: It seems like every one I ve spoken to every time I come here, 15 years is usu
ally the minimum they ve worked here.
Del Carmen: I know. We were still at Point Richmond when I joined.
CS: Why would anyone leave once they get a job here?
Del Carmen: I know, I m not thinking about it. I hope they re not.
CS: What was the first movie you worked on here?
Del Carmen: First movie I worked on here was Finding Nemo. I came to Pixar wanting
to be hired. They interviewed me. The interview here at Pixar is amazing. Every
body comes out to see you. I met everybody I needed to meet on that one-day inte
rview short of Steve Jobs himself, who I met later on. That day, it felt like a
Hollywood musical, and I still have it in my head. I go from Frogtown to Bugvill
e. I met Bob Peterson and Jason Katz and then I met Andrew Stanton and all of th
ese other people. It was a whirlwind. They came around and then we would walk ov
er to the other building. I walked outside and there was Ed Catmull and John (La
sseter) walking from one building to another, and it felt like Ah, did Busby Berk
ley somehow orchestrate this to happen? because I shook hands with everybody! Who
were not necessarily there to hire a story artist they were just moving around. I
t was like having the cast of Disneyland. Oh, there s this person and this person! I
would have been very, very heartbroken if they didn t hire me.
CS: Jonas was talking about his first days here as an intern and watching the ar
my soldiers scene from Toy Story and that was like his first day here.
Del Carmen: I know. I was so happy that they accepted me, but I thought I was be
ing interviewed to work on Monsters, Inc. and then when I showed up there were pic
tures of fishes around. Wait, what movie am I working on? You re working on Finding Ne
mo. What? That s awesome!
CS: Did you end up working on Up with Pete and Jonas?
Del Carmen: I ended up working as the story supervisor on Up, so that was an amazi
ng story to tell. We went to Venezuela and climbed Tepuis. A sporty and jock typ
e artist. No, we re terrible. Climbing a mountain vertical overhand with no ropes.
CS: So you were involved with that one from the very beginning as well?
Del Carmen: Yeah, it was very educating.
CS: At what point did Pete say Okay, I think I want to get a co-director on this ?
Del Carmen: That was a conversation that happened downstairs, right there in the
Atrium. He just casually said, Yeah, I m thinking that we should make this movie a
bout this girl s emotions. We should go and make that and I want you to be co-dire
ctor. I was like, Uh, what did you just say? He just sprung it on me. He was not ma
king any allusions every now and then that no, he just said, If you d like it, I wan
t you to be co-director on my next movie. Of course, yes! And then also I m thinking,
Now what? I wrote in my journal: The world has changed. And I couldn t talk about it
for the longest time. All I know is that Pete and I worked together on Up and we w
ere very collaborative already then, so working on it, being his co-director, ju
st felt like I was going to extend that to a longer time frame and just a little
more involvement.
CS: It s interesting that you see a lot of people at Pixar start in the story or a
rt department and then eventually get to direct their own short or even their ow
n feature. When you re co-directing with a known director it s always a little more
vague about what the duties are going to be.
Del Carmen: Oh, yeah. Nobody knows what that job is. Believe me, I asked every p
erson here at Pixar what being a co-director is and they were like, Got me. The g
ood news it that you can talk to a lot of people who have done co-directing incl
uding Andrew (Stanton). But he said, Bad news is I don t know what to say you. I can
tell you what I did and I can give you some pointers. I don t know if that s going
to work for you. But good luck! That s really it, because it s not only collaborative
but it s a creative venture. There s no hard line on where one begins and the other
starts, which is great about that but it s also kind of difficult to discern wher
e to step in with your dance moves and the other person s dance moves. The only re
ason that it s really great to do this job here at Pixar are the people. If you wo
rk with Pete Docter, you re working with one of the most lovable people in the wor
ld. It makes me one of the luckiest co-directors Pixar has ever had I believe.
CS: The system of making animated movies has changed a lot just as the technolog
y has changed. We were talking to Tony earlier (below), which is the first time
Pixar has had a sketch animation artist. It s interesting how it s changed.
Del Carmen: Technology has helped to make sure that our appetite is sated but it s
actually made our appetites bigger. We re able to actually do more with the techn
ology, but that means we can also sample a lot of things and fail at them early
so we ll arrive at the actual solutions sooner. It doesn t make the job easier, it s j
ust that you can do them faster.
CS: You re a story artist but do you have a background in animation as well?
Del Carmen: I have no formal training in animation. I learned on the job through
various jobs at animation studios. I can fake animate. I know how to time gener
ally from doing storyboards and TV. I can do sheets and all that, but it s not ref
ined at all like all our experts in animation. But I know enough about animating
that my conversations with animators aren t that awkward.
CS: They re very smart and technical people.
Del Carmen: But they re all storytellers. We connect that way when we talk about b
ehaviors. They re all actors and writers themselves, so when we talk about what s im
portant about these characters and their behaviors and their motivations, they g
et it. We don t have to talk jargon until we actually have to.
CS: It was interesting to go through the storyboards and seeing that you would d
raw the story rather than writing out a script. Is there a book that has all tho
se drawings that can tell the story?
Del Carmen: Is there a book like that? No, there isn t, because that would be a ve
ry thick it would be almost like a set of encyclopedias.
CS: What we saw was about ten minutes of the movie right there.
Del Carmen: Yeah, I know, and we cut out every ten drawings in between that, too
, but I would like there to be a book of sequences just to see what it looks lik
e. For most people, they believe that the computer does that. No, they re drawn by
hand by people imagining in their heads and scribbling lines on white backgroun
d, but that would be fascinating to see. We don t have anything like that.
CS: You talked about that earlier where it doesn t seem like you just have a scree
nplay you can hand to all the animators.
Del Carmen: The screenplay in itself is just a bunch of ideas, whether they re dra
wn or typed. That s just how we do it.
And now, back to our tour of the creative process of Inside Out, which takes us
into the technical aspects and where the computers come in.
Laying Things Out
image: http://cdn1-www.comingsoon.net/assets/uploads/2015/05/pixarinsideoutbts5-
e1432498459443.jpg
INSIDE OUT
What s interesting about the way Pixar does animation is that a film like Inside O
ut would actually have not one, but two Directors of Photography. Patrick Lin, t
he first person we met with, is the film s Director of Photography for layout, whi
le Kim White is the Director of Photography for lighting. Between the two of the
m and their respective teams, they handle the jobs of what a single DoP (of cine
matographer, if you like) might do on a live-action film. Deciding where the cam
eras are placed in any particular scene and how the scenes are lit is two separa
te jobs when it comes to animation.
What may be surprising is that those jobs are done at different times during the
production process with Lin working very early on with the storyboard artists a
nd then Reisch coming on after the initial animation is done. Let s explain.
While lots and lots of people love animated movies, particularly those from Pixa
r Animation, not many animation fans realize that computer animation is done a l
ittle differently than drawn or painted animation. One of the ways where Inside
Out differs from other movies is that a good portion of it happens in the Headqua
rters and because there is that one central location, the production design team
could literally create a 3-dimensional set on which the scenes between the five
emotions could play out. Because there was something resembling a physical set,
that meant that Lin s team could figure out exactly where the characters and camer
as would be placed for any given scene as well, and they actually would figure t
his out before any scenes would go to the animators.
In the case of Headquarters, where Riley s emotions do all their work, that s create
d as a virtual set where Lin can then position the characters and cameras for ea
ch scene. Once things are laid out, the scenes are divvied up between the animat
ors.
Bringing Inside Out to Life with the Animators
image: http://cdn1-www.comingsoon.net/assets/uploads/2015/05/pixarinsideoutbts6-
e1432498427717.jpg
INSIDE OUT
This was my second visit to Pixar Animation and for some reason the presentation
by the animators is always the most fun, maybe because it really gets into the
nitty gritty of how Pixar does things differently from other animation houses. O
n hand to talk to us about this step of the process was Supervising Animators Sh
awn Krause & Victor Navone, Directing Animator Jamie Roe and Story Artist Tony F
ucile. Tony s job is to maintain some sort of consistency between the various anim
ators and help to translate what Docter wants to them. It s probably the most fun
job of the process, because during animation meetings with Docter, producer Jona
s Rivera and others, he literally gets to draw over the animation with the chang
es that need to be made in the next pass using a fairly new program to enhance t
he collaborative process. Tony illustrated this by showing us a scene where Joy
is trying to get Sadness out of her hair because her mopey demeanor is starting
to bring Riley down, so she convinces her to read through some manuals. They men
tioned that Docter deliberately worked with less animators than the usual Pixar
production.
Lighting the World with Angelique Reisch
jpg
INSIDE OUT
Eventually we got to Angelique Reisch, the film s Character Lighting Lead, who is of
ten one of the last people in the production chain once the actual animation is
finished, as the characters and backgrounds now need to be lit properly, often t
imes going back to the original concept art for reference. The idea is to recrea
te the lighting from Eggleston s original artwork in order to create the mood and
shadows that will help give the animated emotions more depth (both literally and
figuratively). Like with the layout department and their cameras, Kim White and
her team can physically place and move virtual lights in the 3D environment to
create the desired effect.
One of the main challenges that separates Inside Out from previous Pixar Animati
on movies is that the main character, Joy, is an actual light source who is alwa
ys emanating light, so the question is How do you light a lightbulb? That was what
Reisch and her team had to figure out for the central character voiced by Amy P
oehler. This was probably the most complex portion of our visit, because it was
very technical as Reisch explained how they tried to make the light emanating fr
om Joy reflect on the other emotions.
After the presentations, we got to go on the Pixar tour where we could learn mor
e about the history of Pixar and the buildings and how things like the Atrium we
re designed in a way to make it easier for members of the staff to spend more fa
ce-time together. The tour also included a number of rotating art exhibits showi
ng off some of the gorgeous artwork from the talented staff that makes their bel
oved films.
Inside Out opens nationwide on Friday, June 19, presumably with previews on Thur
sday night. If you live in other countries, it will open internationally in most
of them on the 18th as well.
ThumbnailsFullscreen1 of 40
image: http://cdn3-www.comingsoon.net/assets/uploads/gallery/inside-out-14005941
60/Inside_Out_5.jpg
Inside Out
60/insideoutbluray.jpg
Inside Out
60/insideoutlarge.jpg
Inside Out
60/inside-out-d105_223pub-pub16-293_rgb_1.jpg
Inside Out
60/inside-out-d335_62apub-pub16-143_rgb_1.jpg
Inside Out
60/insideoutlarge1.jpg
Inside Out
60/insideoutlarge2.jpg
Inside Out
60/inside-out-progression_image_7of7_lightingfinal_1.jpg
Inside Out
60/insideout0002_0.jpg
Inside Out
60/Inside_Out_2.jpg
Inside Out
Inside Out
60/insideout0017.jpg
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
60/insideoutpostersmall.jpg
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
60/Inside_Out_3.jpg
Inside Out
60/Inside_Out_4.jpg
Inside Out
60/Inside_Out_5.jpg
Inside Out
60/insideoutbluray.jpg
Inside Out
60/thumbs/thumbs_insideoutbluray.jpg
Inside Out
60/thumbs/thumbs_insideoutlarge.jpg
Inside Out
60/thumbs/thumbs_inside-out-d105_223pub-pub16-293_rgb_1.jpg
Inside Out
60/thumbs/thumbs_inside-out-d335_62apub-pub16-143_rgb_1.jpg
Inside Out
60/thumbs/thumbs_insideoutlarge1.jpg
Inside Out
60/thumbs/thumbs_insideoutlarge2.jpg
Inside Out
60/thumbs/thumbs_inside-out-progression_image_7of7_lightingfinal_1.jpg
Inside Out
60/thumbs/thumbs_insideout0002_0.jpg
Inside Out
60/thumbs/thumbs_Inside_Out_2.jpg
Inside Out
Inside Out
60/thumbs/thumbs_insideout0017.jpg
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
60/thumbs/thumbs_insideoutpostersmall.jpg
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
Inside Out
SHARE TWEET
FROM AROUND THE WEB
image: http://img1.zergnet.com/1702424_300.jpg
The Most Uncomfortable Age Gaps on Television

Biggest Unanswered Questions in 'Alien: Covenant'
Why Summer Quinn From 'Baywatch' Looks So Familiar

The 'Wonder Woman' Photos You Need to See

How Mark Hamill May Have Already Ruined the 'Last Jedi' Twist
5 Actors Who Got Dropped After Filming

8 Most Uncomfortable Love Scenes Ever Aired on TV

16 Upcoming DC Movies That Are Going To Blow Everyone Away

SPONSORED BY CONNATIX
image: https://i.connatix.com/s3/connatix-uploads/c6161164-187d-446b-a155-c58846
eb8920/Contents/60769/5c5c588c-918c-4907-828e-e93205644636.jpg?mode=stretch&conn
atiximg=true&scale=both&height=258&width=309
The Stars' Best Kept Secrets: Matthew McConaughey

Formerly shirtless hunk Matthew McConaughey transformed himself from a romantic
comedy pretty boy into an Oscar winning dramatic star with 2013's 'Dallas Buyer'
s Club'. But what are some things you may not have known about this Southern stu
d?
SHOW COMMENTS
BOX OFFICENEW DVDSNEW MOVIES
WEEKEND BOX OFFICE, MAY 19 21
1. Alien: Covenant
$36.2 M
2. Guardians of the Galaxy 2
$34.7 M
3. Everything, Everything
$11.7 M
4. Snatched
$7.8 M
5. King Arthur
$7.2 M
Source: Box Office Mojo Click for more info.
MOST ACTIVE HEADLINES
The 15 Best Modern Black and White Movies
10 comments 14 minutes ago
Michael Keaton in New Homecoming Vulture Clip and Ellen Interview
5 comments 1 hour ago
Pirates of the Caribbean: Dead Men Tell No Tales Reviews What Did You Think?!
8 comments 3 hours ago
Gina Prince-Bythewood to Direct Sony??s Silver Sable and Black Cat Movie
Take a Bite Out of the Hulk??s Bed from Thor: Ragnarok
MOVIESTVSTREAMINGGAMESTRAILERSDVDCONTACT USADVERTISEPRIVACY POLICYTERMS OF USE
image: http://c.betrad.com/pub/icon1.png
AdChoices
COMINGSOON.NET IS A PROPERTY OF CRAVEONLINE MEDIA, LLC, AN EVOLVE MEDIA, LLC COM
PANY. 2017 ALL RIGHTS RESERVED COPYRIGHT
monitoring_string = "df292225381015080a5c6c04a6e2c2dc"
image: https://c.gumgum.com/images/pixel.gif
gumgum-verify
image: http://c.gumgum.com/ads/com/gumgum/close/RAT_48x27.png
Close ad
gumgum-verify
Close ad
gumgum-verify
Close ad
gumgum-verify
Close ad
image: https://load.s3.amazonaws.com/pixel.gif
Share with friends:

Powered by Po.st
Read more at http://www.comingsoon.net/movies/features/443469-behind-the-scenes-
of-pixar-animations-inside-out#JP4SqlEoGfDBESQ0.99

New Text Document

Hochgeladen von

Dokumentinformationen

Copyright

Verfügbare Formate

Dieses Dokument teilen

Dokument teilen oder einbetten

Freigabeoptionen

Stufen Sie dieses Dokument als nützlich ein?

Sind diese Inhalte unangemessen?

Copyright:

Verfügbare Formate

New Text Document

Hochgeladen von

Copyright:

Verfügbare Formate

ComingSoon.net | New Movies, Movie Trailers, DVD, TV & Video Game News!

The Most Uncomfortable Age Gaps on Television

Why Summer Quinn From 'Baywatch' Looks So Familiar

The 'Wonder Woman' Photos You Need to See

5 Actors Who Got Dropped After Filming

8 Most Uncomfortable Love Scenes Ever Aired on TV

16 Upcoming DC Movies That Are Going To Blow Everyone Away

The Stars' Best Kept Secrets: Matthew McConaughey

Share with friends:

Das könnte Ihnen auch gefallen