Issue link: https://digital.copcomm.com/i/1011494
8 cgw | e d i t i o n 3 , 2 0 1 8 take something out, it isn't contributing," Fariss says. "That things outside a square contribute to rendering what's in a square. We have to look at the whole." Once editorial provided the shots that would be in a cut, the artists did final camera dressing and fine-tuned the CG world for each shot by using elements from a library to draw the eye to a particular area. For instance, bushes might be added to a shot to frame a shape, dead leaves placed in a swimming pool, and so forth. "We model all the props, the architecture, vegetation, vehicles, and skies," Fariss says. "We build everything. Every chair, lamp, toaster, tree, pots and pans, bikes, radio towers. We had a team of about 10 people creating a warehouse full of random things. The mid-century design of the film is about straight lines and broad shapes, so we have to be very careful about that as we go." Shading artists added color and texture, and determined how the objects would react to light. "Burlap, velvet, marble – it's all an aspect of shading," Fariss says. "On the elasticycle, we had a variety of materials in one prop. Rubber, specks of stuff stuck in the tire, leather, metal. We had highlights on the fenders." One of the most complex materials the artists needed to shade was terraz- zo used in the floor of the Parrs' 1960s futuristic house. THE HOUSE "We had to figure out the iconic textures for mid-century architecture," says Bryn Imagire, shading art director. "Grass cloth. Nubby fabric. Etched glass. Sleek, simple shapes. Terrazzo was expensive then, so we put terrazzo everywhere." Adds Eggleston: "Terrazzo is even expen- sive in the computer." Terrazzo is an aggregate material made from marble, quartz, granite, glass, and other materials poured together with a filler and then ground down smooth. It meant the shading artists had to create a variety of textures and reflective surfaces within one element. "We started with a base filler, layered in other textures, and added reflections," Fariss says. "Then, we used colors for dis- placement texture, different manner of light reflections, dirt, and little metal bits here BOB AND HELEN At the beginning of this film, Bob and Helen have lost their jobs as superheroes. But, two rescuers in the form of a high-tech businessman and his inventor sister appear with a plan to make the "supers" heroes again. Only one problem: They want to work with Helen, not Bob. Elastigirl would be the hero, and Mr. Incredible would become the househusband. Bird thinks of this film as a family film – a film about a family that happens to be superheroes, not a superhero film. The scene with Helen talking to Bob about taking the job he wanted is a perfect example. "The scene with Bob agreeing with Helen was my personal hell," Bird says. "Directing is physically hard, but mentally, writing is the hardest. It's the most elaborate puzzle. You try to hit the right tone and be efficient, but you also want to explore a little bit; explore, but keep things moving. Clarity and pace are always at war with each other. That scene of Bob and Helen talking in bed seems simple, but I rewrote it more than any other. To keep it rooted in something real, but keep it entertaining." Although an early version received a thumbs-up, Bird wasn't satisfied, and early test audiences wrote that Bob seemed like a jerk. To have Bob unhappy and not a jerk was the challenge. "I could make him not a jerk," Bird says. "I could do, 'Whatever you say hon, let's have a frosty drink.' But, that wouldn't be Bob. I'd lose an interesting element, the childish clinging, Bob thinking, 'I should have been the superhero.' He had never existed in a moment where he was not the best man for a job. It's hard for him. I wanted to see that. I wanted to see his face seizing up. So, I was, 'Aaargh.' When I finally cracked it, I was the only one partying in my mind. Everyone else was like, 'If it makes you happy.'" But, making this film wasn't always hard. "It's hard until it's really fun," Bird says. "When you see everything together, with all the bells and whistles, it's fun. You open the action scene and it's fun to get it right. When Sam Jackson does his thing, it's a delight. When Dash is as good as in the first film, it's perfect. I can't talk about only one thing being fun – I'd leave too much out. It's like Christmas and I got all the presents I had wanted."