"It was a really involved process," says effects supervisor Jon Reisch. Throughout Luca, the water above the surface was so stylised, filmmakers ultimately created a look that Pixar had never done before. We were able to do it so that animators could see it happening in real-time as they're animating." Handcrafting splashesįor the design of Luca and his friend Alberto in their sea monster form, particular design focus was placed on simple foundational shapes (Image credit: Pixar) "Once we realised that it comes from the inside of the body – it's not an external thing – everything came together," adds Skaria, "we started, with the octopus reference and built on that. We opted for a transformation that would ripple through the body." "It had to be internal – something that the character would react to – but nothing that felt creepy. "Enrico wanted the transformation to be something that's happening to the character, rather than a suit that slides on or off," she says. Character supervisor Sajan Skaria adds that the tail posed some challenges since it only appears on one version of the character.Īccording to character supervisor Beth Albright, the transformation had to be both physical and, at times, emotional. "Those shots, on a technical level, are complex, so we had to be mindful of when we'd show the transformation." Coordinating models were created and rigged for both versions of the character – sea monster and human – so each transformation could begin with one and end with the other. "We had to develop specialised technology on this film to make that happen," says Venturini. They were inspired by how squids and octopuses change the colour of their skin. The filmmakers had to figure out how to showcase the incredible transformation from sea monster to human and back in a fun and organic way. Key to the entire movie are moments of transformation for the characters. Key to character expression was the hair for each character (Image credit: Pixar) "Two lenses and a repetitive shot pattern give way to a completely different approach when Luca emerges from the water." Initiating a spectacular transformation "We rented gear, built trackers, filmed ourselves and put it into the computer," he says. But they still needed to convey motion in the shots, so they dove into the project – literally, creating the actual motion of the camera by tracking themselves in the Pixar pool. So it's like his last safe space – the rocky walls that encircle the open field of seagrass provide him a place to hide."īuilding on that idea, director of photography David Bianchi's team used only two wide-angle lenses for all underwater shots. Anything beyond the meadow is unknown – forbidden. "The underwater meadow is really the threshold for Luca," he says. We don't see rectilinear shapes until we go to Portorosso." Beyond Luca's abode, says Abadilla, is the meadow, which plays an important role. For example, the way vegetation is dressed around the home is motivated by wavy water currents. ![]() Sets art director Paul Abadilla (opens in new tab) explains that, "The underwater world shape language is mostly round, curvy, and organic. Luca is available to watch exclusively on Disney+ (Image credit: Pixar) There's a little more poetry to the motion underwater, which is fun to watch." Visualising the seabed That's a contrast to what we do in the water where you can't ever hold still. "For our characters on land, it's big, graphic poses and faster timing. ![]() ![]() "We were able to explore a different style that's less physically based and more playful, caricatured movement," says animation supervisor Michael Venturini. Strong, simple foundational shapes provide the perfect canvas for our fine details and rich textures."Įnriching the visual design of the film was the way in which the animators embraced Casarosa's love of Japanese animation. Giulia is a fiery triangle, led by a sharp nose. "Alberto is a bean with an over-active mouth. "Luca is a circle with large, searching eyes," she says. The facial designs of the film’s three heroic friends are marked by distinct and particular shapes (Image credit: Pixar)Īt the centre of this fantasy story is the friendship between three young characters in the town of Portorosso and Marsigliese notes that each character embodies a unique short-hand, paired with a hero feature, one that represents how the character engages with the world around them.
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