Animation Guild | We are 839 Digital Magazine
Issue link: https://digital.copcomm.com/i/1343869
D E PA R T M E N T 35 KEYFRAME because atmospherics help simplify the image, and really help you focus where you want." One example is a scene in an open-air market with lots of food stalls. Odermatt says the lighting team was able to add elements from the atmospherics library " to make it feel like there's billowing steam from cooking pots that may or may not be seen. It has that sort of layered feeling if you're walking down the food aisle in any kind of busy night market situation." "To actually have lighters who can use those tools like a cinematographer to create soft shadows, silhouettes, block out part of the image with a library of effects, it was astounding," says Felix. In addition, Odermatt says that without these pre-made elements for lighting to use, scenes would have had to go without because the effects department was too busy working on other challenges. Another area the atmospherics library came into play was with Felix's color scripts. Culp says, "He would give us visions, through his paintings as color scripts, of what he would expect from light dispersion and what color would do in an area at what time of day." Using Felix's art color cues "You're supposed to have your critical eye super sharp, but that was the hardest part to me. [Raya] looks like nothing else we've seen, and we're just so proud… It's definitely the best-looking film we've ever done." – Don Hall, Director All images courtesy of Walt Disney Animation Studios. SPRING 2021 35