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Ratatouille: New Visions of Paris

surely Paris is the city most photographed, painted and adored around the world, but RATATOUILLE (Ra.ta.tui) gives us a whole new vision. The story of RATATOUILLE (Ra.ta.tui) runs in two equally wonderful places in the city: the world dazzling urban restaurants and cafes over the streets and the intricate, mysterious and hard world that runs underneath them, where Django's furry family home installed. "Paris has seen in many ways, but never before from the perspective of a rat," says Brad Bird. To deliver this new vision of the city, Bird worked closely with production designer Harley Jessup, who had to face one of the most interesting tasks for any professional animated design: not only had to reproduce the essence of the City of Light into a CG world, but had to create a landscape that was more than a background, a kind character that breathes passion and life into Remy's world. As expected, Jessup began his exciting work traveling to France with the director of photography / lighting, Sharon Calahan. "We looked over all color, shapes and surfaces," Jessup said, referring to his emotional journey. "Decided to use a palette that had not been used before. We learned that Paris has that classic style that gives the stone, dotted with traces of color. We saw a woman down the street with a red coat that stood on the gray background and that's what we wanted to play in the film. For this reason the color palette is more deaf than other Pixar films. We risking quite as animated films tend to overflow color. We use color to enhance things, and I am convinced that this contention on the color of his great strength to tape. "

As regards the frills, Jessup is contained less. "We wanted to create a classic fairytale Parisian" he adds. "It's a city that shows a lot of magic, but we all needles and domes appear more prominent to emphasize their beauty."

Despite that many of the locations of the film are imaginary, Jessup faithfully recreated some legendary places, especially the Pont Alexandre III, that wonderful arched bridge over the Seine, where Linguini and Remy agree its very original form of association. "Remy and Linguini are quite depressed, so Brad wanted the scene runs in a grand stage with the Seine and Notre Dame Cathedral of background," says Jessup. "We tried to recreate it with the greatest possible authenticity.

Even the famous

skies of Paris served as inspiration for the production design department. "The skies of Paris are very special and it is not surprising that Impressionism was born here," says Jessup. "The light has a special quality, is a bit foggy, and try to play in all the scenes that run outside."

To investigate the underground world he lives Remy and his fellow rodents, Jessup literally immersed himself in the bowels of Paris, down to the famous sewers mismísmo created by Napoleon. "We did a tour through the sewers and the catacombs and tunnels of limestone that was used to build the famous structures," says Jessup. "Undoubtedly was a very strange trip since the day we explored the sewers and evening we dined at the finest restaurants in the city. But that is the movie. It is assumed that a rat like Remy should not go to places where humans go, but there is where it ends. "

A Jessup seemed that the real sewers were too wet and cold and narrow, so the embellished a bit. "We wanted to be more grandiose and more poetic," he adds, "but also did not want to spend.

used some of the classic ways that we use in the human world which is above, but a little rougher, covered with algae and moss. We also build the camp from rats, which has a gypsy style. The pieces of fabric, boxes of French wine we use up a warm and familiar, as the fire heats them. "

Remy's family uses everything around him is a waste of talent and imagination. Jessup especially enjoyed creating interim ships fleeing the French countryside until you reach a drain. "All boats are built with objects that have been finding," said Jessup. "They're made with showers and kettles, and they're great."

effects involved when creating the streams that carry the rats aboard their rickety boat. "Technically, it is very difficult to work with water moving, "said Apurva Shah, Effects Supervisor." Recreating the atmosphere of the river, the dynamics of the rain and the river and the exodus of the rats, it was a really difficult task. In recent years, simulations of water have come a long way and now look much more realistic. "To play with accuracy how the white water, Shah and his team made a trip through the American River III category and is located near Sacramento.

The dish Fort Jessup was to design the place where Remy realizes for the first time that their dreams can come true: the kitchen of Gusteau's. "The design of the Kitchen has been changing over the two damage, "he says." We visited a lot of truth and French cuisines use some of its specific characteristics. The big difference is that our kitchen is much more open, while in reality kitchens are a series of small rooms connected together, very difficult to shoot. But we have kept separate areas where it cooks, which is fried fish, which makes the meat, where food preparation, etc. And for all this needed a space big enough. "

That space becomes the stage for all sorts of funny situations when Remy enters it, This also represented a challenge for directors of photography for the film. Although Remy loves to cook, a human kitchen is full of dangers to avoid, from falling into the pots to swim in a sink full of dirty water.

This reinforces the bias of physical comedy that has the movie. Robert Anderson, director of photography / camera says: "In many cases, the cameras seem as crazy as the mood in the kitchen. In some scenes, Remy is cooking, absorbed in his world, and the camera starts to roll smoothly and fast to the beat of music while preparing a dish absolutely wonderful. And suddenly, they discover that Remy is in the kitchen and the camera focuses on pursuing him, while people throws things and is about to catch him and finish in an oven. The camera is always with him, following everything he does. "

In the film, the dining room of Gusteau's a lot of weight in the extravagant aspect of the film. It is inspired by some of the most famous Parisian restaurants as Guy Savoy, Taillevent, La Tour d'Argent and Le Train Bleu, the beautiful Belle Epoque style property located in the Gare de Lyon (train station), famous both for its grandiose and eclectic decor as for its cuisine Classic style.

"We were inspired by several French restaurants, but the Gusteau's is the most ornate of all," says Jessup. "It is full of huge gilded columns, frescoed ceilings and thick tapestry of red. It is a palace scale and the perfect setting in which the small Remy try to become a chef. "

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Ratatouille: Ratatouille

Thanks to a varied and large group of characters and situations, RATATOUILLE (Ra.ta.tui) became an endless source of inspiration and helped the filmmakers dared to technological feats. As said Michael Fong, director Technical supervision: "This movie had a host of technical challenges, beginning with the crowd of furry characters, a very complex human characters, intense scenes in the streams and the recreation of the wonderful city of Paris. We introduced many changes as sombreábamos. The trouble began when having to encourage species that had not ever worked with. The Pixar animators have created a zoo of the most varied, ranging from toys to insects, to fish and monsters, but never had worked with rats, an unknown species y. .. almost prohibited. The rats usually do bad roles in cartoons, and the world animation has not spent much of this species of rodents. But RATATOUILLE (Ra.ta.tui), the filmmakers decided that they must address these furry creatures from a new perspective, enhancing their talents and qualities and analyzing all the ways to interact with the world. This ranged from the kind of backlash that give the tail a nervous movements made with the whiskers, not forgetting the amazing ways that can be taken as needed to convey sympathy and expressiveness. And since the best way to meet the rats is to spend time with them, Pixar offices were filled with curious animals locked in their cages.

Although took some getting used to, many ended up making love to these sociable creatures, which were to inspire his designs. Brian Green, supervisor of characters in the film says: "We spent considerable time observing and trying to find the rats and then incorporate their behaviors in the models. That allowed the animators to create convincing characters. When you live with rats, you see all his gestures. They are very social animals. They liked to play with us and the caress. "

Dylan Brown, supervising animator continues: "We like to respect the true personality of the animals that become characters in our films. With RATATOUILLE (Ra.ta.tui), the challenge was to find ways that these little beings and their world were attractive to the public, as we did with the fish, which were so poignant in 'Finding Nemo (Finding Nemo) '. "

Observe the life of your new pets provided an excellent opportunity to Green and his team. They took a lot of fun ideas and discovered a world completely unknown. "One of the most amazing things we found was the flexibility shown by the rats. A rat can do all sorts of things with your body: they get in holes impossible because his rib cage is very small and flexible. That helped us that the story was much more fun. But at first we had to create special software that simulate those qualities to make it as realistic as possible, "says Green.

Michael Fong, supervising technical director continues:" Getting a rat is flexible raised a lot of difficulties. It was a long and laborious process in which animators and articulating-the people who build the skeletons inside of the characters tested that lasted months. The aim was to recreate the more strange positions they can take these animals, making the skin, hair and bones to move in such a way that seems believable and expressive. "

Once the filmmakers understand how they moved the rats in the real world, began the speculations, for example, how a rat would manage to grab a spoon or a pan?

"We needed the characters of the rats could move like humans and even chefs cook like humans. This raised a host of problems, especially in regard to the scale, "says Green." Everyone sees the difference in scale, even in something as simple as the beat heart. When Remy runs shows how a heart beats fast. On the contrary, Skinner breathes a totally different way. Play all these differences is one of the exploits of the film giving us credible encounter of two worlds. "

shading was also one of the keys. "Each rat has its own palette of colors that look interesting and attractive," said Van Valkenburg, director of artistic shading. He adds: "We used pointillism to mix the different colors of each character. So if you look closely in Remy's hair, you see it's purple, yellow and green. But it's nothing that, it's just a nice shade of blue. " Van Valkenburg was also inspired by the peaches. "I wanted to have a touch of peach on the nose and ears, and also in the queue."

But the hardest part was creating the character of Remy, which is halfway between the human and the animal world and that leads to funny situations. Bird decided that the rest of the rats walked on all fours. On the contrary, Remy learns to be himself standing on two legs, in order to avoid a faux pas and stained with dirty paws all the food! "One of the most interesting things about the film is the evolution Remy, "says Green." Begins "very rat" but as it enters the world of humans, is taking its characteristics. It was an incredible job, but provides a lot of magic to the film. For Brad, the core history was that of an outsider trying to fit in a human world. "

There is another aspect of rats raised many problems for the animators: the hair, a material that has its own dynamics and is not particularly easy to imitate when it comes to the movements of an animal. Pixar has innovated a lot in the field of hair in "Monsters, Inc. (Monsters Inc.)" and "The Incredibles (The Incredibles)" but RATATOUILLE (Ra.ta.tui), hair flying literally. "This time, we had a lot of furry characters, and all that hair needs to move to the rhythm of all that is happening," says Green. "So we got to work to get the hair to move. It was very difficult but also helped us to invent a lot of new tricks. "

truth rats tend to have half a million hairs. But that's too hairy even for modern computers. So the filmmakers focused on about 30,000 hairs per rat, which is a considerable figure. "We chose to simulate key hairs and leave the rest because of otherwise have been impossible to store so much data, "explains Christine Waggoner, supervisor of simulation." Anyway, we still have huge files of hair! "

rats RATATOUILLE (Ra . ta.tui) are very realistic, almost human, but also have a lot of fairy tale, something that is evident in the scenes where Remy controls Linguini as his puppet. For the filmmakers, the success of film is that the public is engaged with a story so fantastic and fun. "The animators worked hard to make the lock more Linguini small hair sparked a movement with his hand, "said Brad Lewis. "It's really fun. This movie has a lot of physical humor of the old school of Buster Keaton, in which the audience roaring with laughter was heard without a single word on the screen. "

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Create rats: the characters come Life

Like all Pixar films, the soul of RATATOUILLE (Ra.ta.tui) lies in the characters whether homo sapiens or genus rattus, bring their unique personalities, their quirks and their passions to the story. His fortunes wonderfully vital and family dilemmas, ranging from family conflicts to work through problems with loyalty Friends are the result of an artistic whole that begins with a memorable voice cast and continues with a next-generation entertainment, full of artistic talent. With all this human and animal characters get noted for their creativity within the world of CGI. It all starts with Remy, who despite being a rat, acts like an unlikely hero. Behind his whiskers, his tail and pointed ears are hidden ambitions and dreams that we can all identify. "What I like about the character of Remy is not content with anything," says Bird. "Always scanning the horizon in search of new experiences. And of course, is the world's thinnest rat, as it only conforms to the best of the best. He is always asking for more to life, and this idea fascinates me. " Owalt Patton, who lends her voice in the English version says: "Remy is one of those guys who are viscerally passionate and not be ashamed. His enthusiasm is contagious and has no intention of throwing in the towel. Decides to put any meat on the barbecue to make your dreams come true. In this tiny character will have a long and difficult road. "

He added:" Brad is a fan of animation. Even more than me. Has the whole universe of the film in his head and is so creative that is always willing to give that kind of advice that makes a sentence or dialogue into something great. "I'm a big fan of food and all the people of film is like me, so that was fun. In this movie, the food makes up the most wonderful landscape thanks to the skill with which it is made. Pixar is always experimenting with new things in their animated movies and I love it. "

When it came time to create the features of Remy, Bird wanted to give you all the expressiveness that may have a rodent. "The characters' facial joints are getting better and in the end we had 160 individual controls to reproduce the facial expressions of Remy, "says Bird.

" It's like having more keys on a keyboard, and offers many more possibilities. But a of the greatest challenges that we face is that a rat can not shoot well from every angle. The rats have a nose so long that the mouth is rarely seen, especially when the angle of the head Remy is very steep. So we worked a lot in this, for the public to always know what you're saying. "

Remy's dreams did not have many chances to come true until she met Linguini, the click of Gusteau's who discovers the talent of the rat that will forever change his destiny. Although penalties start as partners, Linguini desperately needs to keep this job and Remy hopes to work in a real restaurant. So little by little Remy and Linguini become inseparable and learn to rely on each other.

Oswalt says: "Linguini is the only human being who can count and lock Remy friendship really fun and original. Linguini is so charming that you are willing to lend a hand."

Some of the funniest scenes of the film, Remy controls Linguini literally let their attempts to cook. Bird explains: "A Linguini likes to go unnoticed, thanks to Remy fixing it all. It is a good example of this type of people who think they have anything special but when bad times come to realize that yes they are special and are able to overcome anything. " Brian Green, the supervisor's character confesses that he had another contemporary character in the room of his mind concerning Linguini - "I thought of Napoleon Dynamite, is moving, is funny and is someone you can not help encariñarte" says.

David DeVan, animation director, said: "It was fun because it Linguini encourage that sense of wonder so fantastic. He looks at everything as if seeing it for the first time. " Another challenge for the filmmakers was Linguini's hair, which is not only one of the keys to his character, but also becomes a kind of "joystick" with which Remy controls its movements fantastic when cooking . "Linguini's hair is untamed, like him," adds Sanjay Bakshi accessories supervisor: "He has a style that had never done before. "

Lou Romano, who lent his voice to the character of Linguini in the English version says: "There is no doubt that Linguini is very insecure and is like a fish out of water when in the kitchen, so I remembered my own experiences and what you feel when you feel a stranger. "

the contrary, who is totally in his element in the kitchen is Auguste Gusteau, the legendary chef and best hero Remy and who appears to inspire. Speaking of Gusteau, Brad Bird says: "It was the world of cuisine and exudes authority and passion. It is the mentor or the consciousness of Remy, a Jiminy Cricket or Obi Wan Kenobi, who pushes him to become braver and more resourceful. "

The character required a very special technological touches. "We had to create a special assembly for him because he is so fat spreads everywhere. It is very flexible and is a product of Remy's imagination, so it can fly. Undoubtedly is an absolutely unique character," says Brian Green.

The filmmakers also had fun designing the character of Skinner, that is 1.10 m. "The challenge posed by Skinner was her expressiveness, their enormous lips and the way you move your neck, "says Green." It's very dynamic. "

Hom

Ian lends his voice to the character and he laughs:" No I think that looks like me. Her eyes are very large, a very thin mustache and combed the four hairs that have not to look bald. It's a pretty ugly. It's quite shocking to voice a character with it. "

In the case of the character of Django, Remy's father does not understand why your child wants to belong to a world that does not accept, the director says: "Django is all the wisdom of the Old World, when rats and humans did not mix. "

For Collette, one of the cooks who struggles to shore up the restaurant Gusteau's, Bird said: "Colette is a chef woman in a world mostly male, so you put a shell to not hurt, but underneath lies a poignant character. "We wanted to have a hair to get noticed," says Green. "It's very French and has a very elegant style. I thought of it as a flower has not bloomed yet, and you can see how it will grow as the story unfolds. "

Peter O'Toole, who voices the character of Mr. Ego, loved the supreme powers of this character that embodies a vicious food critic. "His opinion may elevate or sink into poverty at any restaurant," says O'Toole. "If he said 'The Yorkshire pudding is great, still in business, but if he says' The clam chowder in New England is awful, you're out of play."

However, O'Toole felt much sympathy for Mr. Ego. "What saves him is his passion for food" says. "Forgive any criticism if it criticizes something you love."

In the English version, Peter Sohn, an artist and animator for Pixar provides the voice of Emile, the brother of Remy, a rat overweight binge-test all the dishes does his brother. "Emile is a very relaxed," says Sohn. "He can eat anything, so he and Remy, which has a very particular taste, set in motion a dynamic fun. But also, Emile Remy always there when you needs. His philosophy is summarized in the phrase: "In the end you can not fight what you are".

In RATATOUILLE, John Ratzenberger lends his voice to the waiter Mustafa, which he describes as someone "who is always on the verge of a stroke. It's nice with their customers, but once through the door of the kitchen, do not leave to protest because the dishes are not ready immediately, or because the soup is not hot enough, and so on. "

After recording the voices, animators faced a challenge not had expected: animate characters who speak with a French accent which meant that their mouths had to move in a very different and completely new. "When someone speaks with a French accent, the mouth moves differently, "said Mark Walsh, supervising animator." We had to find a way to reproduce this characteristic, not only for vocals, but that the gestures and mannerisms seem credible ".

And for inspiration, the animators turned to watch the French behaving like French." We get to see classic French movies and to recreate some of the characters we rely on great French actors, "says Brian Green. The faces of these icons were French by Brigitte Bardot, Serge Gainsbourg and even Charles de Gaulle were the inspiration for some characters.

Brad Bird summarizes the interaction that occurred between the voices of the actors and animators: "The situations in history and stunning vocal performances of the actors were like an aphrodisiac for animators!"

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Design a Shield Competition


BASES 1. The competition is aimed at creating and developing a graphic design that identifies the mission of the Entrepreneurs Association San Lorenzo Department, framed in its institutional functions (training, employment promotion, promotion of rational use of natural resources and responsible attitude to the environment environment, among others), while the image is constituted representative of the Association.

2. Establishing an open procedure for participation, and a form of competitive selection of jury involvement of professionals and faculty members of the Association.

3. None of the jurors may be a candidate to contest.

4. Open to all students of the school community for all levels and the general public. Only one proposal is permitted per candidate.

5. The design should include at least the inscription: San Lorenzo Department Entrepreneurs and lack of ideological connotations, religious or political. May be rejected designs that can be interpreted as unrelated to the representation of the Association.

6. In developing the design shall take into account the following concepts: unity, integration, work, effort, solidarity, commitment to the environment and future.

7. The design must be original and unpublished. The technique for the shield is free, can be used both traditional and computer media. The use of colors is also free, provided they are spot colors that can be easily ported to grayscale.

8. The design must be versatile, with colors and forms applicable in different formats or media space (stationery, clothing, etc.).

9. Be submitted printed on a sheet of A4 paper, glued on cardboard,

10. The design lead on the back only the pseudonym used for identify him.

11. All documents must be presented as follows: In an envelope "A" small, closed, will include a card with contact details of author, name, surname, address, phone no, e-mail and pen name you used to present the shield.
This pseudonym is the ONLY registration will take this on out.

envelope "B" closed with the only inscription "Shield Competition. Civil Entrepreneurs Association San Lorenzo Department, will include the design, on "A", plus any other documentation that the bidder believes may provide an explanation or clarification of the design.

12. Proposals must be submitted in Calle Moreno 566 (Book Decor) from the city of San Lorenzo, Monday through Saturday during business hours.

13. The deadline for proposals will be on Saturday November 28, 2009, 12 hs.

14. After the deadline, will meet the jury to make the selection and voting, culminating in the proclamation of the winning design, undisclosed, past this instance, the author's identity. Failure to reach agreement among members of the jury, the contest shall be declared void.

15. Design selected must be approved by the Association and shall become the property of the same may, if necessary, register, acquiring property rights.

16. The author of the selected design will yield a free and exclusive rights of exploitation of the work and submit its authorization for the Association to modify, develop or adapt this design, though it can use any means it deems appropriate.

17. The authors of the shields are not selected, will transfer their rights for free distribution and public communication to the Association to be shown on display and included in its website.

18. The submission to this contest of ideas implies, by the contestants, knowledge and acceptance of these terms (including in www.emprendedoresdsl.blogspot.com)

19. Civil Entrepreneurs Association San Lorenzo Department awarded to the winner of the contest with a diploma and express public recognition of being the creator of the visual identity of the institution.

20. Will be an exhibition with all the designs submitted, provided that the number of proposals and their quality meets the expectations of the announcement.

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Ratatouille:

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Project Cars: Technical Advances



the past twenty years, Pixar Animation Studios has become the vanguard of computer animation and continue taking advantage of almost unlimited technical resources to create new stories and characters that delight the public. From his first Oscar ®-winners and nominees from films to feature the first CG (computer generated images), "Toy Story, Pixar has never rested on its laurels. Each film has been a new challenge. In "A Bug's Life" (Bugs) were the blades of grass and the crowd scenes in "Toy Story 2" caricatured but realistic humans in "Monsters, Inc." (Monsters, Inc.). furry characters and simulated clothing, in "Finding Nemo" the brilliant underwater world, and "The Incredibles" (The Incredibles) filled environments action. His latest film, "CARS", stated one of the biggest challenges to date.

Under the supervision of associate producer Tom Porter, supervising technical director Eben Ostby, and the usual group of technical wizards at Pixar "CARS" started many revolutions and achieved some major milestones on the road.

Perhaps the biggest challenge of the technical team "CARS" was created and painted metal surfaces of the characters in the cars and the reflections that generate these surfaces. At Pixar, we used first algorithmic technique called "ray tracing" for filmmakers had the desired effect.



As Ostby says: "Data that our movie stars are made of goal, John wanted them to have more realistic reflections and lighting all of our previous films. In the past, we used mostly environment maps and other technology to recreate reflexes mate, but 'CARS' add a new 'ray tracing' (ray tracing) to put the bar even higher Pixar. "

The 'ray tracing' has existed for many years, but it was the rendering of Pixar team that introduced in almost all levels of "CARS." The head of rendering Jessica McMackin handled the film's final images, while optimizing the rendering manager Tony Apodaca had to minimize rendering time.

McMackin said: "In addition to creating accurate reflections, we use the 'ray tracing' to achieve other effects. We could use two shades to create very sharp, as when there are multiple light sources and want to create a casting shadows on the sides. Or occlusion, which is the absence of ambient light between two surfaces as a wrinkle in a shirt. A fourth use is irradiation. An example would be when you hold a piece of red paper against a white wall. The role of light and color projected a red glow on the wall. "



"Our computers are a thousand times faster than 'Toy Story'," says Apodaca, "but despite being much faster, our appetite is also increased and we like to test us. Because the 'ray tracing' and all the reflections, the average time to establish a frame of film 'Cars' was 17 hours. Some frames took us a week. In this movie, we have much larger images and more beautiful as a lighting and a 'ray tracing' much more subtle. "

Another major achievement the film is a ground anchoring system which ensures that the car is firmly attached to the road, except that the story requires an exception to this rule. Tim Milliron, the supervisor of characters, who led the group in charge of the models, assembly and shading of the characters, wrote the code for this program.

"The ground anchoring system is one of the things I'm most proud of this movie," says Milliron. "Before, the characters do not know your environment. Took a pass from simulation if we wanted something to happen. In 'CARS,' this system is created in their own models, and moving the car, the vehicle is stuck to the floor. It is something that usually happens in Pixar. We want to do something but at first we had no idea how to do it. "



Another big milestone was the team of characters to give it a universal mount that works on all the characters. This means the same animation controls (or avars) can be applied to each and every one of nearly 100 unique car characters without creating new elements of joint. It fit the same basic chassis geometry of each car, but each car has a custom suspension.

"We created some 1,200 avars the animators were able to play" Milliron said. "Some characters, like the Mater with his crane, had more, of course. More than ever, the Avars are designed to work together. For example, there are four major avars for the mouth. There is a miser who moves his mouth to the left and right, which moves the peak of the mouth upward and downward, a moving jaw Avar, Avar and a moving mouth peak outward and inward ".

Milliron's group was also responsible for the mass of cars that are located on the steps in the sequence of opening and closing races. With 120,000 cars in the stands, and 2,000 more in the interior, we can say that is the greatest scene mass has been done at Pixar (far superior to the thousands of ants in "A Bug's Life" [Bugs]). To further complicate the situation, all these vehicles have some form of mass entertainment.



To reflect the excitement and anguish of the racing scenes in the film, Jeremy Lasky, the director of photography who was in charge of the camera and disposition, and his team went to a lot of races and talked with many film cameras often such events. Artie Kemper, veteran director of Fox Sports, a pioneer in the televising of racing, was a excellent source of information. According

Lasky: "Artie gave us valuable information on how placing their cameras on the track. He also talked about some plans that wanted to do. We could do a lot of things that were impossible for him. We could put a camera under the car, one in the middle of the track, riding a crane goes down and pass up the race for the cameras. Artie said he'd like us to have that kind of toys. The placement of the cameras 'CARS' we let the audience was in the midst of all the action. Put them in a world with which they are familiar and then flooded them with planes that had not ever seen. The film has spectacular moments in which the cars go to two millimeters of the camera lens, which is impossible in real action, and I do believe that was possible. "

Even in the most tranquil and serene setting of Radiator Springs, is also achieved some feats. One of the highlights and most complex of the tape is produced at the end of Act II, when the neon lights go on again because the city is alive with a caravan of cars crossing the main street. Because of its bright lights and shiny that originate in multiple sources and all reflections, this sequence was a of the most complex but also one of the most wonderful movie.



To enhance the richness and beauty of desert landscapes around Radiator Springs, the filmmakers created a department that was responsible for the matte paintings and extensions of heaven. Technical director Lisa Forsell and his team poured all their magic in this area.

"The digital matte paintings are a way to create a great visual complexity without having to build a very complex geometry and complicated drawing shaded" Forsell said. "We spent some time working in the clouds and their different formations. Often have multiple layers and moves in a corresponding manner. In fact, the clouds have some personality. The idea was that people think and see human forms in the clouds, cars see Car-shaped clouds. It's very subtle, but there are some that look much like a sedan. And if you look closely, you'll have some lines that look like the picture of the wheels.

"By paying so much attention to the clouds, reflects the film's visual level," he adds. "In the screen there is no pixel that is not carefully treated. It has left nothing to chance."



Steve May, the effects supervisor of "CARS" Applied the same care to nearly half the 2000 levels that make the film. Among the many effects that were created for the film were the trails of dust behind the car, the track of the tires, skid marks, water, smoke and drooling (from the front of Mater).

Source: Walt Disney Pictures and Pixar Animation Studios

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Cars: The Cars Key

"CARS" is dedicated to the legacy of the script of the late Joe Ranft, and the end credits of the film are a tribute to his enormous talent and his work. An extraordinary writer who lent his genius to create some of the stories and memorable characters of animated films over the past 25 years, Ranft was one of the best partners of all time in the field of motion picture association. From his days at Disney, where he helped to shape stories like "Who Framed Roger Rabbit?" (Who Framed Roger Rabbit?), "Beauty and the Beast" (Beauty and the Beast), "The Nightmare Before Christmas (The Nightmare Before Christmas)," The Lion King "(The Lion King), and" James and the Giant Peach "(James and the Giant Peach), his decade of success at Pixar, where he was head of story on" Toy Story "(for which he shared an Oscar ® nomination for Best Original Screenplay)," A Bug's Life "(Bug), and" Toy Story 2 ", achieved a reputation that places it on top of their field. As story supervisor (and co-director) of "CARS", gave heart, soul and humor to the movie and let your personal footprint on the character of Mater. Unfortunately, Ranft passed away in August 2005 after completing his work on the film.

"Joe was the best writer I've ever met," says Lasseter. "He worked with me in all my projects. The most I liked his sense of humor was not funny in their dialogue. I was in the characters. Could make me laugh like crazy when imitating a character. Whether it was by Marlon Brando, an English child, or a redneck, he was able to make me laugh till I burst into tears. During his years at Disney, he went to improv comedy classes at the Groundlings, where he learned that one of the first rules of comedy: 'never to say no. " This had a huge impact on how we worked together in the operation of the story department. When you start something, there's no stopping the creative flow. Always say 'yes'. Never mind that the idea is very crazy, you have to let it flow to see where it takes you. And it was amazing. For me, creating a story is like walking through one of those giant maze that is in 'The Shining' (The Shining). Joe and I got into the maze, we pegábamos to the wall and started to walk. You take all the wrong ways, but eventually find the exit. Never say 'no'. We must explore all paths. And on the way there are nuggets of gold, and characters, and all sorts of things.

"Joe was the soul of our films," says Lasseter. "The heart was largest of all the people I've ever known. He had faith in everyone and everything. Was the most enthusiastic and optimistic in the world. All the writers wanted to talk to him, and he always had time for everyone. He was the mentor of all. "

"Of all the characters we created in Pixar, which I am most proud of is Mater, still says Lasseter. "And partly it is because that character is pure Joe. In all the films that have worked, Joe always focused on something he called particular attention, and always managed to be part of the final film. In 'Toy Story' was the army green men moved as if they were Green Berets. In 'A Bug's Life' (Bug) was the scene when the circus bugs realize that the ant colony believed they were warriors. In 'CARS'. Mater was driving in reverse. For him, the character was there to Mater Lightning McQueen teach you not to judge anyone by appearances. When McQueen known for the first time the rusty crane, can not stand. But then he discovers that Mater is friendship in its purest form, and what it does best a crane is driving in reverse. Mater is like a faithful dog who is always there to greet you when you come home and he does not care that you had a bad day. Joe was such a friend and always will always be a part of my life. "

Ranft also had a huge impact on the writing team of "CARS." Steve Purcell, one of the artists in the history of the film recalls: "One of the things he liked Joe when he was focused on 'Cars' was to create a team in which the artists of history were in complete harmony and closely connected. We spent Pixar old material to remind the process we had to go to reach the definitive history. Their slogan was' You have to trust the process. " If you get stuck at a point you must find a way out. "

Dan Scanlon, one of the artists in the history of "CARS", adding: "Joe told us not to refer to a finished movie as 'Toy Story'. Instead, we must go back to the first roll of film. It was incredible. Encouraged us to analyze the reasons of the problems, and how the process can turn something horrible into something good. For someone who starts at Pixar, seeing all those great things can be intimidating. But Joe taught us how bad they were some of the early versions of blockbuster movies and explained how they solved the problems. It was a very humble man who encouraged us all to be humble. His talent was a great inspiration for all writers. "

Source: Walt Disney Pictures and Pixar Animation Studios

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process: the Banda Sonora

A film that celebrates our universal love for cars, and the joys that we to go down the road less trodden deserved the best soundtrack for the road. And Lasseter chose Randy Newman, long time collaborator (who won an Oscar ® in 2002 for his song "If I Did not Have You" in "Monsters, Inc. [Monsters, Inc.]") and also signed an extraordinary range of artists to add a great deal of fun and entertainment. The songs are integrated into the music of Newman and Pixar to take a new musical dimension (with a new song by James Taylor), and represent a wide range of styles and performances. The combination of musical genius of Newman with the contributions of these great artists is a fantastic music experience and a real milestone for Pixar.

Randy Newman For Lasseter became a friend and collaborator who worked with acclaimed composer / songwriter in "Toy Story. " Since then, their collaboration has been wonderful fruits such as "A Bug's Life (Bug)" and "Toy Story 2." Newman received Oscar ® nominations for his scores for "Toy Story (Toys)" and "A Bug's Life (Bug)" as well as nominations for his songs "You've Got a Friend in Me" ("Toy Story") and "When She Loved Me" (from "Toy Story 2" Sarah McLachlan sang in the film).

"No Randy Newman soundtrack for looks," says Lasseter. "You can compose the most emotional songs and also the most humorous I've ever heard in my life. He is very intelligent and incredibly funny. Randy's soundtrack for 'Cars' reflects two very different worlds: the modern world the prevailing speed and Radiator Springs, where their abundance is just time. Everything goes in slow motion in Radiator Springs, and Randy uses a mixture of bluegrass, jazz, and pure American music to recreate that special atmosphere. The racing world has many influences from rock and roll. The soundtrack for this film is undoubtedly one of the best of his career. "

Darla Anderson adds: "Working Randy is like working with the family. He is part of the family. He and John have much confidence. John speaks with Randy, tells you what you are looking for and left alone to Randy. And always come back with something that leaves us all speechless.

The Randy has composed music for the film which takes place in Radiator Springs is like Copeland. Worked with an orchestra of 110 instruments to compose this amazing soundtrack. Then he recorded a lot of additional sessions that have a style bluegrass with mandolin, guitar and harmonica. "

Of the four new songs composed for the film, one of Randy Newman is called "Our Town." The legendary James Taylor sings, who won a Grammy ®, and the lyrics tell the story of what was once a thriving city that has forgotten where his absolute and Main Street is no longer the most important.

superstar Sheryl Crow, Grammy ® winner manages to recreate the tension of the opening race of the movie "Real Gone", a new song he wrote with producer John Shanks. Both the poetic and emotional event reflects the excitement and impatience of the public.

Brad Paisley, one of the greats of country music, contributed two songs: "Find Yourself" and "Behind the Clouds." The latter was composed with his producer and collaborator Frank Rogers (who also produced both tracks). "Find Yourself" interpreted in the Castilian version of the band "Dream Theater" titled "Rediscovering."

addition to the new songs are original recordings of two great favorites. Rascal Flatts, a popular country group, created a new version of "Life is a Highway" Tom Cochran. John Mayer, singer and guitarist multiple Grammy ® winner, made a new version of the classic "Route 66" by Bobby Troup dating from 1946. The fantastic soundtrack to the film also includes recordings of Hank Williams, Chuck Berry ("Route 66") and The Chords ("Sh-Boom").

Source: Walt Disney Pictures and Pixar Animation Studios

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Cars: Cars

From the exciting opening night race, dusty and faded facades of the street of Radiator Springs until the climax of the race day trepidente California, production designers and artistic team of Pixar stepped on the accelerator to reflect the vicissitudes of "CARS" to the best style. Lasseter, who believes in karma documentation experience first hand, in 2001 led his team to a road trip down Route 66 to prepare their work. Nine people, nine days, four white Cadillacs. Michael Wallis, a specialist on Route 66, led the expedition and shepherded through a set of walky-talkies.

Bob Pauley, production designer born in Detroit and a passion for cars, oversaw the design of the characters and cars two stages of the race. Recalls: "Michael told us at the beginning of the voyage 'does not know what awaits you out there. Going to live a lot of new experiences. You will have to meet them and enjoy them and above all be open to all. " And he was right. We used to reach people and hear all those wonderful stories of the people. Soak us all as we cut the hair at the salon, we took an ice cream or a steak we dared to give the Big Texan giant. We came to take samples of soil from the ground. It was awesome - purple, red, orange, ocher. So many colors!

"One of the most unforgettable moments occurred to us when we made a stop somewhere in Arizona," he continues Pauley. "We were on a road that is attached to the superhighway. It was a fantastic road that merged beautifully with the landscape. As we sat there appeared a truck with an American Indian and his grandson. We asked, 'What do you think our land? " We said that we felt wonderful and he told us he was just here when blown up the mountain to build the superhighway that runs through the sacred land of their ancestors. It was a moment very strong: being on a road that fits so well with the surroundings and see how the interstate has destroyed everything, without observing anything. It was amazing to hear all these stories told by the person whose family has generations in that place. "

Tom Porter, associate producer, recalls: "When John and his team returned from their trip on Route 66, we talked a lot to try to reproduce the patina of the Southwest. They wanted the film to have had many nuances to the authenticity of those years 40, 50 or 60, everything that had gone fifty years later. John wanted the reflect all the complex film authenticity of a Southwestern city and also in the racing world. "

Bill Cone is the production designer who was responsible for creating the look of the film environments and building a road section of 3 km in and out of town Radiator Springs. And we note the following: "For me the style of this film is realistic cartoon. There are cars that talk, and with that we turn away a lot of reality. The forms are a bit extravagant. You can see these types of cars on the rocks, and clouds are stylized. I came to the conclusion that human beings in a human universe would see their own forms in nature, which often happens. Put names to things like Indian Head Rock. So in a world of cars, metaphors would be based on cars. Suddenly, they are rocks that have a car hood. The great American artists as Maynard Dixon also had a great influence on us with their landscapes of the Southwest and painted clouds. "

Sophie Vincelette, supervisor on the film set, was commissioned to create the mountain range of the film paying homage to the famous Cadillacs that dot Route 66. Other mountains are shaped like flying or paracoches.

Undoubtedly, "CARS" represents a new level of attention to detail by Pixar. With its cracked concrete blocks, the accumulated dust and layers of faded advertisements painted on brick walls, Radiator Springs is a place people could visit.

According Vincelette, "Our challenge was to give story buildings. We work closely with teams of models and shading to give the patina that gives over time, and does not seem perfect. The weed grows in sidewalk cracks. "

To add authenticity to the locations of the desert, the department sets modelers had to plant the landscape with thousands of pieces of vegetation, including cactus, sage (brown, green, yellow and ocher) and grass. Rocks were also added many trainings to be more interesting scenarios.

To ensure the authenticity of the car designs, the production design team conducted research in salons car, spent time in Detroit with auto designers and manufacturers, came to racing, and made detailed studies of car materials.

"Research is very important to John," says Pauley. "It was also the most fun part of work because we had to go to all those rooms and car racing, and so on. One of the things did was to visit the workshop Manuel's Body Shop next to the study. He gave us lots of details and helped us understand how to apply layers of paint on a car. "

Thomas Jordan, character shading supervisor, explains: "The chrome and paint the car were our two biggest challenges in this film. We started learning and reading a lot of things. The workshop which was near the study we look at how mixed the paint and how to apply the layers.

"We try to dissect what happens to the actual painting to recreate in the computer," he continues. He added: "We needed a primer, which is where does the color, and a final layer is what gives the reflection. Then we add things as metal flakes to give a special glow, a glow that changes color pearl depending on the angle, and even "threaded" lines that are hand painted with special brushes on the paintwork, for characters like Ramone. "

Tia Krater, shading art director, added: "One day while we were in the workshop of Manuel, we found this old paracoches chromium and asked if we could stay with him. He began to clean it but we said, 'No, no, do not clean! " It was exactly what we were looking. We loved how dirty it was and the patina that covered him. He had almost everything we wanted: bites, scratches, stains, rust and dents. All in a paracoches! One of our technicians, who finished shading to Mater, put the sun and spent a lot of time watching and taking pictures to analyze the textures and surfaces. "

Source: Walt Disney Pictures and Pixar Animation Studios