![]() Volume 3 directors break the rules with David Fincher, Tim Miller, and Jennifer Yuh Nelson at the helm.ĭavid Fincher had produced two volumes of his Emmy Award-winning anthology series Love, Death + Robots before he decided to make his animated directing debut in the third volume. Volume 3, Music Videos Tags Blur Studio, Cinematography, Interview, Netflix, Production, Production Design, VFX (Visual Effects) Leave a comment on Behind-the-scenes of “Bad Travelling” Tim Miller at San Diego Comic-Con We spoke to Compositing Supervisor Nitant Ashok Karnik and Co-CG Supervisor Jean Baptiste Cambier about working with a living legend of modern cinema, and how V-Ray’s lighting tools helped Fincher embrace the darkness.īehind-the-scenes of “Bad Travelling,” part 1: Collaborating with David Fincherīehind-the-scenes of “Bad Travelling,” part 2: How to light like David Fincher Author Leonard Zelig Posted on AugAugCategories 2022. To create the nautical world of “ Bad Travelling,” Fincher teamed up with Blur Studio, the animation and VFX production company founded by Miller. The Love, Death & Robots episode marks Fincher’s first completely computer-animated short film, as well as his first directorial contribution to the Netflix anthology series he executive produces alongside fellow director Tim Miller. Now, Fincher has taken his characteristic chiaroscuro to “ Bad Travelling,” a grisly maritime adventure involving a dishonest, paranoid crew - and a giant crustacean lurking below decks. Beginning with Alien 3, and moving on through Se7en, Fight Club, Zodiac, Mank, and the TV series Mindhunter, the acclaimed director has made use of low-key lighting and anemic palettes to explore the darker recesses of the human mind. Find out what they learned in the process.Ĭinema is often referred to as painting with light - but it could be said that David Fincher’s movies paint with darkness. Love Death & Robots ’ “Bad Travelling” gave Blur Studio a chance to work alongside legendary director David Fincher. ![]() In his second podcast with Chris, Jerome breaks down some of the amazing episodes in series three: David Fincher’s “ Bad Travelling,” Alberto Mielgo’s “ Jibaro,” Patrick Osborne’s “ Three Robots: Exit Strategies,” and Emily Dean and Polygon Pictures’ “ The Very Pulse of the Machine.” Jerome also reveals how episodes are researched and produced, and how Japanese animation has influenced their direction.Ġ:06:03: Five years of Love, Death & RobotsĠ:09:12: Jerome’s role and how he works with different directors and international teamsĠ:14:28: Working with David Fincher on “ Bad Travelling“Ġ:18:23: Fincher, mocap, virtual production, and goreĠ:23:48: Old friends return: “ Three Robots: Exit Strategies”Ġ:30:19: The style of “ The Very Pulse of the Machine“Ġ:35:36: The influence of anime and working with PolygonĠ:40:16: Alberto Mielgo’s “ The Witness” and “ Jibaro“Ġ:55:17: Producing “ Love Death & Robots” Supervising Creative Director Jerome Denjean is a key player behind-the-scenes, giving Love, Death & Robots’ talented directors the freedom to execute their visions (literally!) while ensuring that each episode fits in with the series’ overall vision and tone. ![]() Over the past five years, Love, Death & Robots has completely resculpted the landscape of animation, feeding Netflixviewers bite-size chunks of violence, sex, and gore. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |