Issue link: https://digital.copcomm.com/i/1277231
20 cgw e d i t i o n 2 , 2 0 2 0 "We got five potential looks from people around the studio. They were amazing. We shared them with our consultants at the autistic self-advocacy network to get their opinions. Danielle and I both liked one in particular but felt we should choose the one that feels most appropriate to them," says Milsom. The group, in fact, chose a com- pletely different look, almost the opposite of what Milsom and Feinberg had liked. "The one we chose had a de-saturated look and these beautiful bloom lights, and they chose something that has a deep saturation in the center and the lights bloomed but in a different way, harsh on the highlights," Milsom explains. "But they look beautiful in the film. So, whenever you are with Renee and looking at the world through her point of view, the world has this particu- lar look, this deeper saturation in the center and bigger highlights on the sides. It actually amplifies a little if there's more emotion and the highlights get even hotter." There were other considerations, as well. Kenny Pickett, sound designer, wanted to know how Renee would experience sound, so the sound effects are different from her perspective than from that of Marcus. It also differs depending on whether she is calm or overwhelmed. Moreover, the camera de- partment, led by DP Sylvia Gay Wong, made sure that when you're looking throughout Renee's POV, eye contact is not made. "The details and the careful consider- ation that went into the film are significant," Milsom notes. In fact, the complexity of the film is apparent throughout, even in the water and hair simulations. Marcus wears a hat, which cuts down on some of the sim work, while Renee was given a hairstyle that was not overly complicated to simulate. "She is a young woman of color, so on a technical level, emulating darker hair is a little easier to do than lighter hair," Milsom points out. Also, the two characters are on water for a large part of the film, requiring water sims. Effects lead Kylie Wijsmuller, who was fairly new to Pixar, figured out the water cycle, the waves generated by the canoe. "I knew the water would be difficult, but I hadn't really thought about the water reacting on the sides of the canoe," says Milsom. The simulation team further tackled the fit of the life jackets on the characters and moving them in such a way that they did not look too rigid.. "The simulation team was so great," says Milsom. "They are all such superstars in this industry, and their care and attention, and contribution to the story, is very deep." It goes without saying that having the characters talk (most of the other Spark- Shorts do not have characters who speak) presented some hurdles. Not only was it more work for the animators, but recording the voice actress for Renee did not follow the typical Pixar process. With assistance, the filmmakers found Madison Bandy, who voices Renee. She is autistic and can be overwhelmed due to sensory overload. Therefore, her voice performance was recorded at her home and captured her performing naturally – when she was happy, stressed, and so on. Milsom credits her team and her produc- ers for the project's success, pointing out that it takes a partnership to make a film like this, and producers Krissy Cababa and Mi- chael Warch were always right there. "They were very much like the strategists. I was the confidence lady. We'd talk about how great we were going to make this, but they would strategize with people and make sure we got things done. They were truly great partners." Milsom steps away from this project with a newfound appreciation for the animation process, being inside of it and collaborating with artists to bring two little somebodies, as unique people, to life in the animated form as Renee and Marcus. "I feel they are really honest and true and authentic as characters, but they're still designed, and their way of being in the world was carefully considered. It was one of those amazing artistic experiences that only comes in animation, because you have "Loop" filmmakers considered the visual and sonic POVs of the autistic Renee. Animators used very specific and unique behaviors and performances for the characters.