Related Article: How to Develop a Stylized Short Filmīecause we began learning RenderMan the year prior to starting work on Œil pour Œil, we were already comfortable using the software that said, we inevitably had a few issues along the way, just like with any other software.įortunately, our texturing workflow was quite simple, so we didn’t have to tweak much and had no issues going from Substance Painter to RenderMan. Once we finished the layout in Maya, we exported everything to ZBrush to sculpt the boards, then headed back to Substance Painter to add texture. Because there is a lot of wood in the short, we were able to follow the same workflow for most of the textures. In the end, we decided to use Substance Painter because we wanted our textures to look painted but not overly so. We started researching the artistic direction we wanted to take for the texturing and rendering the summer before production officially began on the short.Īt first, we were going for something very cartoonish. To address this challenge, the animators mainly worked under the same angle once the camera was established for a shot. Other times, what worked from a certain angle did not work from another, so the face wouldn’t look like anything at all. The animators on the team, François and Robin, had a tendency to get a little carried away-sometimes they would exaggerate the characters’ eyes and mouths to the point that the animation was incomprehensible. We had to create a rig that was universal enough to be used on most of the characters, while still giving us the freedom to animate specific facial features like the eyes and the mouth. A significant challenge we experienced while making this film was the rigging. It was hard to know at times how far we could push the animation as we wanted to find a middle ground with how we used caricature in the film. We made a concerted effort to keep these two characters in the foreground and the pirate crew in the background. The main characters in Œil pour Œil are Captain Buapalatas (wordplay on the French expression “boire la tasse” which means “to involuntarily swallow a mouthful of water when swimming” and “to lose a lot of money”-bad news for a pirate!) and Mary the exasperated barmaid. We also liked the crazy look of an advertisement created for Cartoon Network featuring a pirate. For example, we loved the designs created by Blue Zoo Animation Studio for their short movie, No More Stuff. We spent a lot of time finding good references and understanding what we liked about each one. We spent five months fine tuning the ocean simulation in order for it to look exactly how we wanted it to look, which was neither classic nor realistic. We wanted to create something original and unconventional across all aspects of the film, from character design to the final compositing. We ultimately created a series of gags linked together by a story, and that became Œil pour Œil! We are happy with how everything came together-the pitch was funny, we felt very free in the design and creation of the characters, and it all fit perfectly with the cartoonish animation style that we envisioned for the film.īefore production started, the team prioritized developing a clear, shared vision of what we wanted the film to look like. We set out to create a funny, wacky universe around the story of this captain, one that would please audiences of all ages.Īt first, our teachers advised us to create a series of short gags however, as production started, we were compelled to tell a story-one that we felt would require a bit more development than we could achieve through gags alone. It all started with an idea Thomas had about an unlucky, one-eyed pirate captain and his one-eyed crew. Hugely entertaining, with a unique style, the students nailed the look and humour. In this article we learn how having a solid plan, before starting was key to the success of this production. Œil pour Œil (“ooy-poor-ooy” or “Eye for an Eye” in English) is an award winning student short film produced by students from ESMA in Nantes, France.
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