Designing a Dream house
Director Mark Osborne reveals how the Aviator's house developed
CAPTURE A FEELING
This was the first painting that was created by Tang Heng that showed the warmth of the relationship between the characters, and also created a safe cocoon space for them to share the story of The Little Prince. Capturing this feeling became the goal of the entire production.
DESIGNING FOR CG
This is an illustration created by Mathieu Gosselin in order to try and establish a more concrete depiction of the space that had been previously suggested in Tang Heng's painting. This was an important step in terms of trying to get the very complicated and cluttered space into CG.
DEFINING EMOTION
Next in the process was this mood painting created by Lou Romano. He was seeking to define the range of emotion needed in the scenes that take place in this space, so that we could be sure that all the architecture, props, textures and lighting could help us tell the story we needed to tell.
COLOUR PASS
Next came Celine Desrumaux’s local colour pass, helping to define what the overall colour palette that would be assigned to the many objects in the room. This is an important stage that helps to break apart the clutter of the scene and retain the emotion and design created in past steps.
SET THE ANIMATION
With rough set dressing in place, next was the animation of the characters. It was crucial to have the connection between the characters feel real, and subtle acting was used to make this tender moment feel genuine. The animation supervisor was Jason Boose, and the shot was animated by lead animator Marc André-baron.
DRESSING & SURFACING
Some colour, rough surfacing and lighting was added to the set to see how its general look was coming along. It’s a very complex location, so there had to be many iterations of the dressing and surfacing, to ensure we wouldn’t end up with visual mush. Props and sets look development supervisor was Vincent Tonelli.