DVDizzy Forum

Kyle wrote:amusingly, if I remember right, the models in toy story were rebuilt from the ground up every movie. the technology changes so fast that they wouldnt just use the same models/rigs from the previous movie, they want to push things, and that means using different software, often requiring them to start from scratch to get a better result.

I think recycling models in feature films is actually viable as long as there isn't a huge gap between productions.

And I'm pretty sure they've recycled stuff in the background. I recall that the dogs in Prep & Landing were almost definitely tweaked Bolt rigs, Tiny the Dinosaur from Meet the Robinsons could be seen in Wreck-It Ralph in Central Station, and the cute girl who was scarred-for-life in Ralph Breaks the Internet was very blatantly the baby Moana rig from ... Moana.

I don't blame the CG artists for doing this, especially for minor and background characters. I have the impression that high quality models and rigs are very difficult to create and certainly not something you just whip up fast and cheap.

I love these sorts of discussions. I'm dying to truly join in, but if I did I'd end up writing at some length and I really don't have time right now.

In any case, please keep it up guys because it makes for a very interesting read.

I've never understood why the myth started that computer animation is cheaper than hand-drawn. Sure, Toy Story did cost less than Pocahontas the same year, but that was because making a full-length computer animated film was a major risk. Once we get to A Bug's Life, Pixar movies started being given bigger budgets than the ones at Disney Animation.

Every computer animated film Disney has made has also cost more than what The Princess and the Frog and Winnie the Pooh cost to make.

estefan wrote: Every computer animated film Disney has made has also cost more than what The Princess and the Frog and Winnie the Pooh cost to make.

I believe the only hand-drawn animated film that comes to mind as far as costing anywhere near as much as almost every CGI film costs is Sleeping Beauty, partly because of it's very particular aesthetic but even more because the film had a long development or production, I believe.

When a hand-drawn animation has been very successful, they multiply the budget way more than a CGI film does, even in the cases where they make a billion in business worldwide like Frozen, Frozen 2, or Zootopia. For example, the best against the best: Frozen II did 1.450 billion on a budget of 150 million (10X its budget) v. Lion King having made 968.5 million on a budget of 45 million (22X its budget).

Jules wrote:And I'm pretty sure they've recycled stuff in the background. I recall that the dogs in Prep & Landing were almost definitely tweaked Bolt rigs, Tiny the Dinosaur from Meet the Robinsons could be seen in Wreck-It Ralph in Central Station, and the cute girl who was scarred-for-life in Ralph Breaks the Internet was very blatantly the baby Moana rig from ... Moana.

Yes, thats why I mentioned cameos and props/set dressing. But the kind of recycling originally being talked about was main characters, not as extras, but as the same main character in a sequel. They've yet to do that as far as I can tell. There's repurposing, and then proper recycling because they wanted to dive back into that world again.

Disney's Divinity wrote:
I believe the only hand-drawn animated film that comes to mind as far as costing anywhere near as much as almost every CGI film costs is Sleeping Beauty, partly because of it's very particular aesthetic but even more because the film had a long development or production, I believe.

Tangled was expensive as well, with its long production and all.

Kyle wrote:Yes, thats why I mentioned cameos and props/set dressing. But the kind of recycling originally being talked about was main characters, not as extras, but as the same main character in a sequel. They've yet to do that as far as I can tell. There's repurposing, and then proper recycling because they wanted to dive back into that world again.

Ah, ok.

However, hypothetically speaking, if productions were separated by only a couple of years they could recycle character models, right?

Not a perfect example, but in the case of Tangled Ever After and Frozen Fever, I would be shocked to learn that they rebuilt the models of the main characters from scratch.

I also recall online commenters mocking Frozen Fever for its "lazy" recycling of the original film's digital sets, which I think was very unreasonable. If the action took place in Arendelle, why would you recreate the sets from the original film just to say you did? Perhaps the short film was indeed written and storyboarded specifically to exploit those existing sets, but I still do not find that objectionable. (Though I imagine it must have hugely streamlined production since, after writing and storyboarding you pretty much have all your digital assets ready and can go straight to animation and then post.)

For the record I don't like Frozen Fever, but am a great fan of Tangled Ever After.

Sergio Pablos' is working on his next 2D feature for Netflix called "Ember".

From the BAFTA award-winning and Academy Award® nominated Klaus director, Sergio Pablos and The SPA Studios, comes Ember an epic adventure tale of humankind’s quest for fire told through the eyes of young Dikika who embarks on an impossible race to a distant volcano to retrieve the precious spark that will save her tribe.

Source: https://about.netflix.com/en/news/netfl ... rom-europe


Source: https://twitter.com/netflixfamily/statu ... 2172742656

Yeah, I'd read about that at blu-ray.com while the site was down. I'm very interested to see the next film by the people behind Klaus!

I'm glad Netflix is giving him the opportunity of making another 2D film.

Eric Goldberg animated a 101 Dalmatians-themed commercial for Givenchy. There's also a behind-the-scenes featurette for the commercial. The animation and the visual style look really good. The production seems of a higher caliber than his recent Goofy shorts. Too bad it's so short and Cruella is only seen in shadow form.

Get a first look of a new hand-painted cel that the Walt Disney Animation Studios Ink & Paint Department is creating in honor of our 100th anniversary, designed in collaboration with Eric Goldberg. Stay tuned for more details on where this limited edition piece will be available. #D23Expo

https://www.facebook.com/story.php?stor ... e=timeline

what ink and paint department?

unprincess wrote: ↑Sun Sep 11, 2022 4:09 pm what ink and paint department?

Disney has a small one, to do lithographs and commemorative art and things.

Well, I was lucky enough to be the last person to ask Eric Goldberg and Mark Henn a question in the Q&A portion of their conversation at the Walt Disney Animation Studios booth at the D23 Expo.

They talked a lot about how the people at Disney know that hand-drawn animation is important for Disney's fans and have heard their pleas to bring it back, and before I asked my question, they said they were working on a feature at Disney that has a lot of hand-drawn animation that's under wraps.

So my question I asked them was if they could now confirm, since we're all at D23, if the upcoming Disney+ series Tiana would be hand-drawn animated or if that info is still under wraps, to which they said "that's still under wraps, but nice try, we appreciate that you care about that information."

So, I guess we're still waiting til next year to find out if Tiana will be hand-drawn animated when it hits Disney+ in 2023.

with all the new projects that were announced, its disappointing that not one of them was revealed to be hand drawn. I was hoping after the talk of bringing it back we would have something by now. even a simple "untitled movie releasing in 2025 will be hand drawn" type of thing.

Kyle wrote: ↑Fri Sep 16, 2022 11:21 pm with all the new projects that were announced, its disappointing that not one of them was revealed to be hand drawn. I was hoping after the talk of bringing it back we would have something by now. even a simple "untitled movie releasing in 2025 will be hand drawn" type of thing.

I understand you perfectly, yet I don't think they are doing this to deceive us. I am guessing they are still undecided how and when to make new hand-drawn or hand-drawn/CG hybrid movies and don't want to commit to a date or heighten expectations before they know FOR SURE what it is they are going to do.

This will probably take a while, and while I am certainly salivating with intrigue at these recent cryptic hints, I can understand if the studio doesn't want to upset people with false promises and decides to hold back from an official announcements for now.

EDIT: To be fair, WDAS rarely announces a glut of projects these days. In terms of feature films, if we're lucky they'll reveal the next one, but gone are the days when they'd announce their next four features in advance as they used to do circa 2008. Perhaps there are some really interesting projects in the pipeline but it'll be years until we find out about them!

Gigantic's cancellation really traumatized them.

Seeing this thread bumped and opening it hoping for good news only to have it crushed time after time really has become a special sort of torture.

Hullabaloo is drawing closer to completion. They released a new sneak peak video:

https://www.facebook.com/10002783642695 ... l/?app=fbl

Thanks for sharing the update, Warm Regards! I was wondering just a week or so ago if this project was still happening!