Tim Burton’s Alice in Wonderland is almost ready to premiere on March the 5th, 2010. With this images we can see how some of its digital characters were animated and created with the help of some actors.
This movie is going to be a treat of visuals and effects.
The White Rabbit
The first animated character Alice encounters is the White Rabbit. Here, a storyboard sketch is done as the first step in creating the scene in the film.
The artists at Imageworks create a low-resolution version of the CG character and place it in the CG environment low-res allows the animators speed and flexibility while working on the scene.
Once the character animation is completed, a high-res version of White Rabbit’s performance is checked on a more detailed model called a pit render.
The performance approved, the Rabbit gets his fur and clothing. There are complex programs designed to make hair, fur and fabric move and behave as realistically as possible.
The final scene, which has all of the high-resolution elements including a furry and clothed Rabbit, his computer-generated surroundings, the matte painting background, the effects of moving leavesÑall lit and textured. Elements are combined by a compositor.
White Rabbit’ voice is from Michael Sheen.
Twidli Dim and Twidli Dum – Matt Lucas
Matt Lucas (on the left), who portrays both Tweedledum and Tweedledee, is first photographed in green screen wearing the special “Tweedle suit,” along with his double (on the right).
Lucas and his double switch places and film the same scene, capturing Lucas in the opposite role.
A reference shot incorporating both of Lucas’ facial performances (which will later make their way into the final shot) is handed over to layout and animation, where the body performances (matching by Lucas’ on-set performances) are created.
Layout of the Underland garden is combined with the character animation for the Tweedles, the White Rabbit, and the Dodo, with photography of Lucas’ facial performances floating about the Tweedles to serve as reference for animation matching.
Feathers and hair of the furred characters, along with movement of clothing and jiggling of the facial and belly fat, are realized.
Here is the final composite of all elements, animation, layout, surfacing, lighting, matte background, with Lucas’ color correction facial performances integrated and “tracked-in” to the computer-generated heads of the Tweedles.
Post author: Daniel Semper