Paul is a digital expert. In the 20 years since he graduated with a first-class honours degree in Computer Science, Paul has been actively involved in a variety of different tech and creative industries that make him the go-to guy for reviews, opinion pieces, and featured articles.
If you're seeking pro animation advice then the team at Outpost, who have just wrapped up work on Knuckles, a miniseries created for the streaming service Paramount+, based on the Sonic the Hedgehog video game series published by Sega is understanding what you’re trying to achieve, whether it be a character, show, or shot.
The more knowledge you can gather, the better decisions you can make with your animation. Understanding the physical limitations, scale, weight, and emotional states will impact how your character will move, stand, act, react, and speak, so that you are always considering these factors as you work. You obviously want the performance to be consistent across each sequence, even though they are likely being animated by different artists. Movement and expressions need to feel like they are coming from the same character, so we’ll often build a library of poses that can be dropped into a new scene as a starting point to maintain the feeling of the same character.
All of these thoughts and emotions can be conveyed in very subtle gestures, expressions, or postures, and if they’re not consistent with the character’s state of mind, they will betray the CG nature of their performance. Breathing, eye darts, brow changes, and eyelines can all be very informative to the audience in such an understated way that they aren't always fully aware of but will subconsciously pick up on and believe.
But ‘Prehistoric Planet’ is my favourite. Working with Andy Jones and Adam Valdez again I had a chance to work on previs and then supervise animation on seasons 1 and 2. It was such a great collaboration between the BBC natural history unit, Darren Naish and his team of palaeontologists, and the VFX artists all had real mutual appreciation for what the others did. Being a child of the 90s animating a T-rex was one to tick off the bucket list and probably my all-time favourite.
So, if I had to pick one, I think it would tend toward the stylised end of the spectrum: it allows us to take all of the photorealistic knowledge we have and add in that layer of appeal.The shows I find most fun generally have an element of both; ‘The Jungle Book’ had a storybook feel with talking animals but relied heavily on real-life animal references to keep the characters feeling real.
Watching the development of your shot leave animation and get the added CFX touches like the movement of the skin or groom that might be squished, jiggled, or manipulated in some way as it contacts somebody or something else, the lighting and comp that integrates the whole image either way is immensely satisfying.
Each year we are inspired by different teams producing ever greater work and raising the bar for VFX and though recognition is always nice, I think we all take a lot of pride in our work regardless of awards; otherwise, I'm not sure it would be worth doing!I think it's best to not get too distracted by that side of the film industry.
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