In addition to the retracting tails or fins, you saw fingers or toes disappearing or splitting into more digits. “We wanted the transformation to feel like it was internal to Luca and not like a suit that was appearing over him or coming off.” They also settled on a combination of simulation and hand-drawn techniques.”We looked at birds, chameleons, and octopi,” said character supervisor Beth Albright. It was through this inside/out approach that they hit on the idea of building two separate character rigs for the human and sea monster versions of Luca and Alberto to provide more options. One of the first explorations was how the body experiences the transformation. We want to revel in it in the beginning, but we wanted it quick later on, so we knew we needed a lot of control and gave it to the animator.”
Those became difficult because we realized half-way through that the transformation occurs at different moments. It looked almost like if you put watercolor on some water, the watercolor would spread, so we thought that would be really fun if there were two elements: retracting so there’s a hiding of yourself and biological because it’s natural. “We found these Chromatophores that are almost like cells inside a squid. “If we only just do scales disappear is that enough?” the director said. Pixar put a lot of technical resources into it early on as part of a separate artistic journey. Again, they studied nature along with the always handy Miyazaki.
ALBERTO X LUCA MOVIE
The hardest part, though, was the crucial transformation between sea monster and human, which occurs throughout the movie whenever Luca and Alberto go swimming or unexpectedly come into contact with water and the fear of discovery heightens the danger. It was so exciting when you discovered pillars of it with the right shapes and textures.” “But, at the end of the day, what is on the screen? We made that clear, when we cast the show, that everyone had to find it.
“We know we want different, we know we want inspired by 2D, we know we want inspired by Enrico’s drawings having rough edges and watercolor textures,” added producer Andrea Warren.
Alberto has sharper fins, inspired by a tuna, because he’s a faster swimmer, while Luca has softer, rounder shapes.”Ĭasarosa had his Pixar team sign up for a quest: to fuse 2D with CG in a way that was visually empowering for the artists yet still worked mechanically. We thought a lot about appeal and contrast between Alberto and Luca. “Initially, I drew tentacles on Alberto’s hair, but it looked disgustingly alive. “So I would do my lollipop and underwater put some fins and some blowy hair. “We wanted someone with big eyes to take in the world and I could do it in both worlds,” he said. The art and animation departments referenced fish and marine iguanas and plants for the hair paddles, while Casarosa provided drawings of Luca as an alter ego of his human form. In keeping with the hand-drawn, storybook look, which was new to Pixar features, the sea monsters required special attention and lots of retooling. It does become this metaphor for the other, and everyone can be specific about how it relates to them.” And then we figured out how best to portray it. “So something felt right talking about that age with the setting of a changeling, someone actually hiding his true self naturally because he has to. “He said he felt that way as a kid - those years where you feel odd in your own body and you don’t fit in for many different reasons,” added Casarosa. Pixar’s chief creative officer, Pete Docter, even told Casarosa how much the theme personally resonated with him.
ALBERTO X LUCA TV
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