On the second day of the NIFFF Extended program, the focus pivoted from the digital artistry of VFX—showcased with "The Last of Us" and "3 Body Problem"—to the equally intricate worlds of animation and practical SFX miniature making.
NIMONA - DNEG
The journey of bringing "Nimona" to the screen was anything but straightforward. Initially started by Blue Sky Studios, the project faced uncertainty when the studio closed in 2021. However, the passion and dedication of key individuals led to its revival at DNEG, where at its peak, 100 animators worked together to bring the graphic novel adaptation to life.
Toby Seale, Lead Animator at DNEG, shared insights into their animation process, which started with… graphs. Yes. Given the project's temporary halt, the directors had the chance to deeply explore the character arcs and dynamics. They created graphs tracking their emotional journey throughout the movie, both individually and collectively. This tool proved to be invaluable for directors and animators alike, allowing them to infuse this emotional subtext into the animation.
Another important resource for the animators was the style guide created by Ted Ty, the Animation Director for "Nimona". They also worked with the concept of "golden poses". What are those, you may ask? Well, these are still frames where the character's pose conveys the essential elements of a shot, guiding the viewer's eye to the most important aspects. This technique, borrowed from traditional 2D animation, ensures clarity and intention in each frame. It also enabled quick feedback cycles with directors, helping animators avoid overworking shots that might later be changed.
Like VFX, references are crucial in animation, though more for acting than for textures. This involves the team filming themselves acting out scenes, often in a cartoony style, to better understand body and facial movements. Even subtle actions, such as holding a hand, are filmed to capture the intricacies of key real-life movements.
For the animation of "Nimona," the team aimed for a theatrical, exaggerated style, often utilizing the entire frame and set. However, in moments of vulnerability, the animation shifted to a subtler, more natural approach. A striking example is a scene where Nimona, feeling exposed and honest, is depicted from the back in a very still position, to emphasize her emotional state. But she does more than that...
"Nimona’s transformations were one of the biggest challenges for the animation team", confessed Seale.
And we are not surprised. Turns out, they were tasked with creating her transformations entirely in 3D, using VFX only for enhancements. This technical challenge also had to align with Nimona's emotional arc. For instance, when she is playful, her shape-shifting is quick, fun and seamless. They achieved this by nesting the rigs of different animals inside one another, similar to Russian dolls.
However, contrary to what many might believe, it’s not the larger, more dynamic movements that are most challenging. Minimal movements posed a greater challenge, as conveying emotion with slight gestures requires immense skill.
PRACTICAL SFX - SIMON WEISSE
Simon Weisse, a master of miniature making, shared his experiences and techniques at NIFFF. Known for his work with Wes Anderson, including "The Grand Budapest Hotel", the Roald Dahl shorts, and "Asteroid City", Weisse has carved a unique niche in the industry. He began his career in the late 80s, working for movies like Event Horizon and V for Vendetta, to mention a few. But with the advent of CGI. Things changed.
“Twenty years ago, I thought my career was over, that’s why I started making props. But since 'The Grand Budapest Hotel', I’ve never had more work!”, he told.
This resurgence doesn't mean he's abandoned prop work. In his studio, for "Asteroid City", the team handled both miniatures and functional props. They created meteorites in various sizes, as well as jetpacks and guns. Among the miniatures was the UFO ingeniously assembled from everyday kitchen utensils, and the train—a particularly memorable challenge since the model arrived in pieces from the States. "I was hoping it would be like assembling something from Ikea. With a manual! It was far from it, and we had to creatively find a way to piece it together!" he recalls with a laugh.
Now, let's clarify something about miniatures for cinema: these aren’t your average models you can build in your living room. Cinematic “miniatures” can be larger than a car! For instance, he was asked to create a 50-meter-long road for “The Wonderful Story of Henry Sugar”. It was so massive that he couldn’t find a place large enough to film it and had to use a greenhouse in Berlin. By the way, for those interested in seeing these works up close, the Museum of Cinema & Miniature in Lyon, France, houses many of his creations, including a forced perspective set from the short film "The Swan", directed by Anderson and Event Horizon's ship.
Unfortunately, miniature making remains a labor-intensive and resource-heavy process, often requiring strong support from directors and producers. "For this kind of project to be feasible, it needs the full backing of the director and sometimes even the producer. Without their support, it simply won't happen," explains Weisse. This is where filmmakers like Wes Anderson make a significant difference. For "The Grand Budapest Hotel", the director's enthusiasm for mini-effects led Weisse and his team to spend about two months in preparation and another three to four months building the maquettes—all for just a few days of shooting.
When asked about the skill set needed to be a miniature maker for movies, Weisse emphasized the meticulous nature of the work, which demands patience, passion, and a diverse skill set. His team in Berlin includes architects, carpenters, painters, and more, showcasing the range of talents required.
“You must not be afraid of getting your hands dirty”, Weisse advises, adding, “the 3D guy is also able to cut wood, you know?”
Finally, Weisse also addressed the ongoing debate between practical and digital effects, dismissing it as nonsensical. Often faced with "purists" who insist on one method over the other, Weisse, an enthusiast for new technologies, advocates for a synthesis of traditional and modern techniques.
“Combining these old techniques with new ones is truly an asset,” he stated.
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