Issue link: https://digital.copcomm.com/i/1192296
26 cgw w i n t e r 2 0 1 9 As Biernacki points out, it's very diffi- cult to animate rigid, hard-surface objects in 2D because it is not easy to maintain consistency of the volume and shape. "If you're animating organic objects, all the imperfections just give it more charm and an organic quality," he says. Therefore, the horse carriage and sleigh were 3D, as were a few locations when a 3D camera move was appropriate to the story moment. For the 3D work, the team used Auto- desk's Maya, but made sure the CGI was textured, lit, shaded, and composited in a way that fit with the rest of the imagery. Oen, the team used projections, creating basic 3D models or flat cards, and then projecting the hand-painted textures. "We paint from certain angles, so we couldn't get too crazy with the camera; it only works for a specific angle," notes Jakubowski. There is one scene near the end of the film that was mostly 3D: when Jesper and Klaus are being chased on their sleigh pulled by reindeer, as toys spill out from a giant bag inside. So, which was easier, 2D or 3D? Pablos recalls asking famed Disney animators Ron Clements and John Musker, with whom he worked on Treasure Planet, which they found more difficult. Their response: "Hybrids are the worst." And, he agrees. "You're merging all these elements from different so- ware – CG props, hand-drawn characters, organic hand-drawn effects combined with CG-generated simulated effects…. It's a mess. And you have to make all that work belong in the same world," he explains. "You can make it all look great visually, but it always has to merge seamlessly when you put it together." But, if the team could draw it or paint it, they would lean in that direction. "We wanted it to look like an illustration that's put in motion," says Biernacki. "It does feel somewhat like a picture book, which gives the film a certain charm. We wouldn't have been able to go as graphic in some of our design choices with just 3D." The backgrounds in Klaus are mostly stat- ic, and when depth was needed, the artists would choose simple, traditional solutions, such as multiplane, unless there was a lot of camera movement. In those instances, 3D projections were used. When the camera had to travel beyond a certain point in the background to where it was obviously not dimensional space, then a 360-degree set was built and lit. A New Tradition Thanks to the new lighting tools, Klaus has a more modern look than, say, those classical hand-drawn animations of the past. "There was a time when every new Disney film brought a new innovation, and I feel that what we're doing here is the same thing. Here's one more tool we devised, and we hope to continue adding more tools to it as we move forward with traditional animation once again, as long as we don't lose what's essential and what gives it its charm." The same holds true for story as it does for aesthetics. Yet, Klaus takes a unique spin on the traditional Santa story. Or does it? Pablos says he used Klaus more as storytelling train- ing than an actual attempt at a film script – simply because he felt Santa was missing a true origin story. "It felt too sappy, telling a story of an old man who lives in the woods and starts making toys for kids," Pablos recalls. He then came up with a less-altruis- tic main character who needed to learn the value of giving. And, Jesper was born. Once this became a Christmas story, Pablos was determined to make Klaus part of the selective short list of classic Christmas films that people watch each year. Will that be the case? All the elements are there, from the amazing traditional animation to the heartwarming storytelling. Only time will tell. Meanwhile, the filmmakers do have an- other Christmas wish: that Klaus's fresh look will inspire other studios and creators to look at 2D animation differently and help push it forward by building and expanding the tools, to create a more elaborate, immersive look for the genre. "That may inspire others to look for new ways to use 2D animation as well as 3D animation [a la Spider-Man: Into the Spider-Verse]," says Biernacki. "Maybe we'll arrive at a point where people no longer say '2D animation' or '3D animation,' but just 'animation.'" n Karen Moltenbrey is the chief editor of CGW. THE BACKGROUNDS IN KLAUS ARE MOSTLY STATIC; WHEN DEPTH WAS NEEDED, THE ARTISTS USED SIMPLE, TRADITIONAL SOLUTIONS.