when u come up with a tiny change for your story that not only makes the writing flow better but also hammers in the character motivations and story theme
flatid planthopper nymph, Singapore. hemipterans (true bugs) like these have mastered the art of covering oneself in weird waxy filaments, which are shed along with their last juvenile molt, revealing a sleek, gossamer-winged adult
Spider-Verse Artists Say Working on the Sequel Was āDeath by a Thousand Paper Cutsā
Why donāt more animated movies look this good? According to people who worked on the sequel, Across the Spider-Verse, itās because the working conditions required to produce such artistry are not sustainable.
Multiple Across the Spider-Verse crew members ā ranging from artists to production executives who have worked anywhere from five to a dozen years in the animation business ā describe the process of making the the $150 million Sony project as uniquely arduous, involving a relentless kind of revisionism that compelled approximately 100 artists to flee the movie before its completion.
While frequent major overhauls are standard operating procedure in animation (Pixar films can take between four and seven years to plot, animate, and render), those changes typically occur early on during development and storyboarding stages. But these Spider-Verse 2 crew members say they were asked to make alterations to already-approved animated sequences that created a backlog of work across multiple late-stage departments. Across the Spider-Verse was meant to debut in theaters in April of 2022, before it was postponed to October of that year and then June 2023 owing to what Entertainment Weekly reported as āpandemic-related delays.ā However, the four crew members say animators who were hired in the spring of 2021 sat idle for anywhere from three to six months that year while Phil Lord tinkered with the movie in the layout stage, when the first 3-D representation of storyboards are created.
As a result, these individuals say, they were pushed to work more than 11 hours a day, seven days a week, for more than a year to make up for time lost and were forced back to the drawing board as many as five times to revise work during the final rendering stage.
"For animated movies, the majority of the trial-and-error process happens during writing and storyboarding. Not with fully completed animation. Philās mentality was, This change makes for a better movie, so why arenāt we doing it? Itās obviously been very expensive having to redo the same shot several times over and have every department touch it so many times. The changes in the writing would go through storyboarding. Then it gets to layout, then animation, then final layout, which is adjusting cameras and placements of things in the environment. Then thereās cloth and hair effects, which have to repeatedly be redone anytime thereās an animation change. The effects department also passes over the characters with ink lines and does all the crazy stuff like explosions, smoke, and water. And they work closely with lighting and compositing on all the color and visual treatments in this movie. Every pass is plugged into editing. Smaller changes tend to start with animation, and big story changes can involve more departments like visual development, modeling, rigging, and texture painting. These are a lot of artists affected by one change. Imagine an endless stream of them."
"Over 100 people left the project because they couldnāt take it anymore. But a lot stayed on just so they could make sure their work survived until the end ā because if it gets changed, itās no longer yours. I know people who were on the project for over a year who left, and now they have little to show for it because everything was changed. They went through the hell of the production and then got none of their work coming out the other side."
Me golf commentating: These are evil, evil men... they have done wicked deeds to be here today. There are no winners today-- Beautiful drive there. Right onto the fairway.