Issue link: https://digital.copcomm.com/i/225858
VFX • ANIMATION VFX, as they were part of the overall storytelling and not about big, flashy effects just for the sake of it," she says. "It all seemed very straight forward when watching the making-of, but it would have taken a lot of input from VFX in the early stages of production to make this seem effortless on the screen." THE HOBBIT: THE DESOLATION OF SMAUG Release date: December 13 Production companies: MGM, New Line Cinema, WingNut Films This second installment in the adventure of Bilbo Baggins in Middle-earth is filled with effects both great and small, from the diminutive creatures to the dragon Smaug. There are gorgeous backdrops of all types – rivers, mountains, caves, kingdoms – plus armies, dragon fire, creatures, battle...the list goes on in the epic fantasy. "The Hobbit is always an impressive display of VFX power, with more and more all-CG parts in every movie," Stokdyk points out. Port is anticipating seeing things that he has not seen yet. "I expect the dragon in The Hobbit: Desolation of Smaug will be spectacular. I've heard a lot of good things about that," he says. Gru and his beloved minions are back to save the world in this CGI comedy, a sequel to the 2010 film. The feature did exceptionally well at the box office this summer, and that kind of acceptance is difficult to ignore. "Despicable Me 2 connected with audiences in an incredible way, and it's not hard to see why. They tapped into what animation does best: wordless pantomime through the consistently hilarious minions, broadly designed cartoon characters, and worlds filled with fun and whimsy. There's ample story and heart to connect to the audience, but they never lose track of their primary objective, which is to make us laugh. The super-cartoony 2D design influence makes every prop, gesture, and gag a joy to watch," says Rainmaker's Brunker. "This is a sequel to a very successful film, and this one is even more successful than the original. Normally that doesn't play into any Oscar factors, but it is hard to ignore. Box-office success in this case cannot be ignored, and we have to take this movie seriously," says Beck. He points out that Director Chris Meledandri, who founded Illumination Entertainment, has been making these animated films for Universal and has not given them a bomb yet. "His track record is Pixar-level, not aesthetically but box-office-wise," Beck says. "The film is better than the original. I had problems with story in the original, though I can see why people liked the movie, it was beautiful looking. But the second film repaired some of that damage. It was a better story. More appealing. A great follow-up. I never thought I would say this, and never would have before Despicable Me 2 came out, but because of its success and qualities, I see it as a contender." ERNEST & CELESTINE CLOUDY WITH A CHANCE OF MEATBALLS 2 Release date: September 27 Production companies: Columbia Pictures, Sony Pictures Animation, Sony Pictures Imageworks For this sequel, Sony changed up the theme just enough to deliver something new and inviting: hybrid food/animals. "Cloudy is beautiful. Aesthetically, it's very good. I loved the first film and thought they did a good job of maintaining the humor, characters, and story [in the sequel] – it didn't feel like they were ripping it off by making another film. Instead, Cloudy 2 felt like a continuation," says Jerry Beck, animation historian and cartoon producer. "Also, it has been doing well at the box office. I consider it solid in the second tier." DESPICABLE ME 2 Release date: July 3 Production companies: Universal Pictures, Illumination Entertainment 30 ■ CGW Novem ber / Dec em ber 2013 Release date: December 6 (US) Production companies: La Parti Productions, Les Armateurs, Maybe Movies This French-Belgium animated film, about a friendship between a bear (Ernest) and a young mouse (Celestine), is presented in a painterly style. "The utterly charming French-Belgian film Ernest & Celestine is a stellar piece of moving art on screen, both in its beautifully delicate watercolor-style renderings with sensitive, fluid motion and in its gently unfolding storytelling full of warmth, emotion, and social commentary," says Rainmaker's Jericca Cleland, director on the upcoming Ratchet & Clank 3D stereo feature based on the video game franchise. "The characters are strongly and wittily defined; and, while simple, the story remains delightful and entertaining." Cleland continues: "Technically, the animation is lush, the timing excellent, the antics hilarious. I was particularly struck by the use of weather as character and by the choice of using the white of the 'paper' in service of emotion, environment, or directing the eye. The love of craft and best of what the art of animation has to offer comes through strongly in this film – it is tender, imaginative, unbound by realism, and rich in texture and execution." Indeed, this relatively unknown film could earn a place in the hearts of voters. "For the last few years, while the large Hollywood studios duke it out for Oscar gold, an occasional dark horse comes up and surprises the field. This happened in the past with Tomm Moore's The Secret of Kells (2009), Wes Anderson's Fantastic Mr. Fox (2009), and Hayao Miyazaki's Spirited Away (2002)," notes Tom Sito, animator, professor at the USC film school, and author of Moving Innovation, a History of Computer Animation. "This year I'm impressed by the French animated feature Ernest & Celestine by Stephane Aubier. It is a