7/1/2023 0 Comments Luca the movie![]() ![]() ![]() These outsider characters, are the characters I'm always looking for because I want to see that world with a bit more attention." " Sketching and making comics is where I come from, and that is where that idea comes from: Is there any way that we can retain some of the sketched watercolor, (and) wonderful expressiveness, through the process?. " Among the traits that we gave Luca is this huge amount of curiosity, imagination, the sense of paying attention," he said in a Q&A after the press briefing. " I wanted it to be like jumping into a kid's book," said Casarosa of the aesthetic he pursued for the film, and he says that the look of the film is both related to its main character, and to his own origins in the art and story departments at Pixar. Related: Every Cancelled Pixar Movie (& How The Sequels Changed) ![]() This allowed for the comedic "spit take" moment in the trailer where part of Alberto's face transforms while the rest of him stays human. So several Pixar teams collaborated to create sophisticated new models that allowed them to control with extreme precision the way the transformation takes place across Luca and Alberto's bodies. So we started working with effects to get scales moving over the surface," said Albright, going on to say that the team narrowed in on the act of getting wet – especially by splashing or swimming – was the transformation they could draw inspiration from. " We knew we needed some kind of a ripple to move through the body. The team on Luca needed to find a way to demonstrate the transformation that contributed to the story and lived up to the "hand of the artist" aesthetic Casarosa was pushing for. The transformation isn't instant, or hidden behind a puff of smoke or splash of water. " It's rooted in Luca's self-discovery and exploration, and even in the films major theme: that friendships can be transformative." And it's literal too, with Luca and Alberto regularly changing shape from their sea monster to human forms. " From the start, transformation was at the core of the story," says character supervisor Beth Albright ( Monsters University, Finding Dory). " And now our effects were starting to support the overall style goals of the film." And that really started to crack open this idea of injecting artistic control," said Reisch. The result was a close control over the way water is depicted, using " adjustable frequencies" with control over the size, shape, movement, and speed of waves and the water's surface. " We built sliders that allowed us to mix in more or less than a certain size of wave. The effects team worked against the photorealistic approach of previous Pixar movies (such as Finding Dory or Cars 3) which relied on oceanographic research, and instead strove for an artistic approach that conveyed emotion and a sense of story. " We know how to achieve that. Stepping towards stylization in our effects was sort of a hard left turn away from everything." ![]() " At Pixar, and especially in our effects department, we're very comfortable with realism," says Reisch. Reisch and his team strove to find an entirely new way of depicting water on screen that fit with Casarosa's pursuit of elegance but also lent to the story the movie portrays. In fact, the effects team developed several new ways of showing environments, characters, and movement on-screen, all anchored in the concept of showing the "hand of the artist" through the animation and production design. Set in the Italian Riviera, in and around a fictional town called Portorosso, the film features gorgeous visuals and settings, all of which contribute to a unique style of animation and effects. Related: Why Luca's Disney+ Release Is Better Than A Delay For Pixar The story of the upcoming Pixar movie, which is inspired by Casarosa's own childhood growing up in the Cinque Terre, follows Luca (Jacob Trembay) and Alberto (Jack Dylan Grazer), two boys/sea monsters, as they form a fast friendship and experience a life-changing summer, meeting new friends, exploring new places, and stepping out of their comfort zone all the while. The influence of Casarosa as an artist is felt all through the film. L uca director by Enrico Casarosa has worked in Pixar's art department since 2002 and has previous credits including directing the Academy Award-nominated Pixar short La Luna as well as work in the art department for Cars, Ratatouille, and Up. ![]()
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