would have been easier to tackle the story of RATATOUILLE (Ra.ta.tui) from a human terms. But surprisingly, Brad Bird chose the hard way: tell the story through the eyes of the rodent protagonist. Bird was inspired by some classic films, including a former Hollywood thriller. "One of the sequences have a certain influence of the 'Rear Window' by Alfred Hitchcock," says the director. "In this film, Hitchcock is interfering in the lives of others using the point of view of Jimmy Stewart's apartment. In our film we see an apartment in Paris through the point of view of a rat. "Sharon Calahan, director of photography / lighting, which had already been charged with this work in "Finding Nemo (Finding Nemo)," "Toy Story 2 (Toy Story 2. Toys load again)" and "A Bug's Life (Bichos. An adventure in miniature), I knew I could excel in RATATOUILLE ( Ra.ta.tui). "We wanted to get a rich look, the feeling you get in Paris, and a great restaurant in Paris. We also wanted to have food that looks appetizing and all those little furry characters were beautiful and attractive, "says Calahan to talk about the task that awaited him. He continues saying," I had some ideas about the depth, richness and opulence of the colors and fit very well with the story. And 'd get to do just the opposite is usually done in illumination, ie add black where there is no light. I wanted to substitute this for an area more colorful, and had to try many tricks and cuts. " A Calahan caught at the idea of \u200b\u200bplaying a wonderful October day in France. "When we went to Paris was sunny, but the light is diffused so silvery and soft, the atmosphere was wonderful. That's what I wanted to play in the movie, "says" The film is illuminated with a lot of colored lights and also has large areas of colored shadows as usual. What I wanted was to pay tribute to the color of the city.
When it came time to shoot the food, Calahan watched a lot of food magazines and books for inspiration. "I spent much time studying how food photography, trying to understand where differences lie between good photography and food photography bad food," he explains. "The different positions of the light used to improve the appearance of food. So the problem was how to make food had a more translucent and therefore more credible, or that seem juicy enough to be palatable. And one of the things we learned is that the warm light enhances the color of the food. "
For food RATATOUILLE (Ra.ta.tui) was as realistic as possible, Calahan the technologies used had been used to make fish look more translucent in "Finding Nemo (Finding Nemo)" and to reproduce the human skin in The Incredibles (The Incredibles).
Regarding the characters Rodents, Calahan explains: "The key to making the characters have an attractive appearance was the quality of the coat and the brightness of the ears. We had to make many experiments to get the coat respond well to light. "
Scale also posed a great challenge. "Play and feed in the same world it was very difficult," he adds. "The light was a key to these relationships work." Actually, Calahan's work is much like the traditional cameras. "I try to think as a painter and make it light enhances everything, "he says." RATATOUILLE work (Ra.ta.tui) was a real challenge but the experience was very rewarding. Brad Bird has the ability to make the best of each one ".
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