Can you tell me about your approach to the clothing?Īlberto Mielgo: We are using Marvelous Designer. There’s just something extra, something you’re doing. But because our characters are real, I think that people are having a problem really believing that this is not motion capture.ī&a: It isn’t just the gross movement of the characters, but it’s also their clothing. I think that with The Witness we achieved that level of animation. But when you see these Pixar or Disney animations, they are extremely real, and they really transmit incredible feelings, because their acting is fantastic, right? The animation is really realistic, because they use themselves as reference. The problem is that the characters are not realistic in proportions. So, animation at Disney and Pixar is keyframe animation, as well, of course. It’s something where people are writing to me like, ‘Hey, you have prove this!’ And it’s like, ‘No, I don’t have to prove anything.’ But I will do a bit of like a tiny making of, just to basically fuck up people’s minds a little bit more, in fact. But is it in fact all keyframed?Īlberto Mielgo: That’s correct. It’s difficult for them to process, because they don’t understand – ‘What is lacking here? There is a lack of something.’ There is a lack of something that realism has, but it works the same as realism, because we are just using just the important stuff to make it work.ī&a: One of the very first reactions that audiences seem to have had to The Witness is that they at first think that it’s live action with some sort of overlay or augmentation. I think when people see The Witness they are a little bit tricked by the amount of impressionism or the amount of graphic realism. I couldn’t have a cartoon-like woman getting nude.
And visually we wanted to have a mystery piece. They are almost alien-looking with weird proportions.
When you see our paintings in The Witness they look very rich, but when you see them from up close, they’re actually extremely simplified. In Pixar films they tend to render absolutely everything, but there are a lot of things that are not actually needed. This is something that I was saying to my painters, and we were basically trying to depict realism but in a graphic way. And that’s something that I always follow when I do any art and this is what I was saying to the animators. The description of impressionism is very simple, that is, it’s whatever the eye can catch with just a glance. My main rule when I do painting or when I do any kind of art is always impressionism. It’s just things that I do without trying to fit anywhere. I couldn’t say that this is Disney or Pixar.
I never try to copy any existing animation style. It did grow a little bit in terms of the style and basically the world itself.ī&a: How would describe the style of The Witness? Can you give a name or description to your visuals?Īlberto Mielgo: For me, my main reference comes from cinema and paintings, not necessarily animation. That was very much what I pitched to them. It didn’t evolve at all from the original pitch. And they ended up going with The Witness. I pitched them several scripts, and they liked them.
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