Issue link: https://digital.copcomm.com/i/1449234
and Buster walking on the ring of Saturn against a copper background. Of course, the other key character in the film is the reclusive lion rock star Clay Calloway with his impressive mane. In complete opposition to the "Vegas" universe of Redshore, it was a question of establishing a calm and isolated place, particularly dicult to access, to root Calloway's house. Garth wanted a house by a lake. As I had images of Canadian landscapes in mind, I decided that the lake would be surrounded by a forest. The house is located on a peninsula in order to detach it from the surroundings, and it has a somewhat dated appearance with its Victorian wooden architecture. I added a giant ficus as a symbol of the character's maesty. he first meeting with Calloway takes place inside the house around the fireplace. In terms of design, the set is rather simple, but the challenge was then mainly in the lighting of this sequence. Clement Griselain, color supervisor for the movie, brought all his artistic talent to this set. His work on the film's lighting keys greatly contributed to the visual beauty of the movie, and especially to the final show. he creation of this great final show started with the outfits, and then a second part concerning the sets and the outstanding choreography. Garth used the extraordinary Cirque du Soleil shows as a reference. Sing 2 opens with an Alice in Wonderland show in the Moon Theater: a colorful and friendly production. To build a contrast, the great show at Redshore had to visually bring the Out of This World show to the next level. In order to do so, it was decided to ask sisters ate and Laura Mulleavy of the famous fashion brand Rodarte to bring their vision and talent as fashion designers for the creation of the costumes of the main protagonists of the final show. ate and Laura oered amaing ideas and visual concept drawings that the Art Department translated into a virtual form with all the details necessary for their realiation, without losing the original idea and the Rodarte touch. We talked a lot with the Mulleavy sisters at the dierent stages of creation to control the quality of the transformation of the drawing into virtual costumes. A lot of work, often complex, was done to respect and specify the dierent materials that are used to give life to these costumes. he outfits of Ash, Johnny and laus were undoubtedly the most challenging ones; a mixture of lightness and light reections for Ash's costume and a rougher, wild aspect for Johnny's and laus' but also with a nice touch of elegance. Each costume had a specific role to play. Cute for Porsche and Rosita, romantic for Meena and lots of fun for Gunter as a space robot. C D E F C. OLIVIER ADAM. DRAWING. PREMILARY RESEARCH FOR THE CREEPY FOREST LEADING TO CALLOWAY'S HIDDEN HOUSE. DIGITAL ART. D. CLEMENT GRISELAIN. KEY LIGHT FOR THE FIRST REVEAL OF CALLOWAY'S HOUSE. ESTABLISHING SHOT. DIGITAL ART. THE KEY LIGHTS ARE USED BY THE LIGHTING DEPARTMENT TO DEFINE THE FINAL LOOK. E. PATRICK MUYLKENS. PAINTING. DIGITAL ART. COLOR AND SURFACING MODEL FOR THE KLAUS FINAL SHOW COSTUME. TO PROVIDE CLEAR INFORMATION ABOUT THE FABRICS USED FOR THE COSTUME, AS WELL AS THEIR REACTION TO THE LIGHT AND DEGREE OF REFLECTIVITY. F. PATRICK MUYLKENS. PAINTING. DIGITAL ART. COLOR AND SURFACING MODEL FOR THE REALISATION OF JOHNNY'S FINAL SHOW COSTUME.