production designer of "WALL • E" needed a unique cinematic vision of the future that included everything from trash covered Earth abandoned to a huge cruise ship floating through space and home to thousands of humans. The production design supervisor for the film was Ralph Eggleston ("Finding Nemo" [Finding Nemo]), a Pixar veteran who had been artistic director in the films "Toy Story" and "The Incredibles" [The Incredibles], and had directed the Oscar-winning short "For the Birds." To help you achieve your artistic goals, he worked closely with three artistic directors Anthony Christov (artistic director of plateau), Bert Berry (artistic director of lighting), and Jason Deamer (artistic director of the characters). According to producer Morris: "From my point of view, the biggest challenge of the film was production design and consistency of the appearance of our sets and environments. We knew we need a future image of the Earth in a state of neglect, but it was very hard to imagine in detail all the intricacies. The design of the Axiom and the space environment were also difficult to imagine, but we have more material for these items. Ralph and his team did a great job creating, building and researching worlds became characters in their own right and helped Andrew to tell the story I wanted to tell. " "One of the best things about Pixar," said Eggleston, "is that we can create animated films that also have elements of film special effects and live action movies. We found our own sense of the world and starting from scratch. In 'WALL • E', it is essential that the public believe in this world, because otherwise it will have a hard time thinking that our hero is really the last robot on Earth. So we decided to make Earth very realistic and very detailed. We create about 9.5 miles of urban landscape to know exactly where this WALL • E every time he moved and that the world really existed. Stylising just a little to the animation, but these are the actual dishes we've ever created at Pixar. It was also the most difficult task in which we do from a standpoint of art.
"Another of our objectives was to use color and lighting to enhance the feelings of WALL • E and help audiences connect with it," he adds. "The first act has a very romantic and emotional enlightenment, and the second, the lighting is much more sterile, orderly and clean. The second act is the antithesis of the first. As the film progresses, we gradually introducing a more romantic light. An important part of my job is to discuss all these crazy ideas in the art department to go forward as it unfolds the production of the film. "
To create the appearance of outer space in "WALL • E ', Eggleston and his team idealized visions of the future of NASA scientists from the 50 and 60, and the artistic concept of Tomorrowland, Disneyland.
"One of the biggest influences for me and everyone who worked on creating our vision of the future was the work of art created for Tomorrowland," says Eggleston. "It was not about specifics, but rather the concept of 'Where is my kit for the future?". If you look at many of the drawings of the programs space 40, 50 and 60, you can see fantastic images of structures on Mars. Around 1978, they stopped because they did not want to spend money on something they knew they could not do. We were interested in showing how the future might look and how great it would get there. That's what we wanted to reflect the design of this film. "
The inspiration for the design of the Axiom came to seek luxury cruise ships, including those managed by Disney. Some travel to Las Vegas also suggested how use a practical lighting for artificial luxurious surroundings.
"The original concept of the Axiom emerged from a cruise ship," said Eggleston. "We designed a huge spaceship the size of a city. Is several kilometers long and can accommodate hundreds of thousands of residents. We knew that audiences would need some kind of visual support, so I put it near a planetary nebula. The first time we see the nebula is reminiscent of a mountain with something on top, and then see which is the Axiom. "
"One of the things that Andrew wanted to do with 'WALL • E' was to create a different look than we usually see in animated films, "recalls producer Morris. "Very often, it seems that animated films are recorded in a sort of computer space. We wanted it appear that directors of photography with real cameras had gone to these places and had recorded what we're seeing. I had wanted to photograph artifacts and everything seemed more real than usually animated films. During my long stay in ILM, I met many people who would be useful to us. "
Morris invited two of the best directors of photography in their respective fields to visit Pixar to advise him. Director of photography Roger Deakins ("No Country for Old Men" [No Country for Old Men], "The Assassination of Jesse James by the Outlaw Robert Ford" [The Assassination of Jesse James by the Coward Robert Ford], "Fargo" "O Brother Where Art Thou?" [O Brother!]), six times nominated for Oscars and best known for his regular collaboration with the acclaimed Coen Brothers, helped to lend its experience in aspects of lighting and camera. The famous magician visual effects and six-time Oscar winner Dennis Muren ("Star Wars" [The Wars], "Indiana Jones", "Terminator 2," "Jurassic Park" [Jurassic Park], "The Abyss" [Abyss ], "Twister") offered its expertise to create visual effects and images of atmospheric ambience.
"Both Roger and Dennis went contributed their views and gave us many ideas about how things would be," says Morris. "We got some old Panavision camera 70, similar to those used to record the movie original 'Star Wars' (The Star Wars) and recorded images to achieve the kind of artifacts that created these lenses. We focus on technical elements such as chromatic aberration, barrel distortion and other imperfections, and we took what we learned and apply it to the picture of our computer graphics. The contribution of Dennis and Roger was instrumental in creating these aspects of the film. For example, advice on photography, lighting and composition, we helped create the stark, dry landscape of the Earth in the first act. "
Morris's experience in live action films and visual effects also helped the filmmakers to fulfill his desire to seem that the film had been shot and not recorded. "I told the technical team in the real world, when you're shooting, the lens is usually about three feet from the plane of the film, and you can change perspective by tilting the camera. They took this information and returned with images that appeared twice a photographed image. The result is that it looks like a camera rolling, as opposed to being in a kind of virtual space in which everything is pristine. There are some imperfections in the final look of the film that will give more credibility.
As director of photography camera, Jeremy Lasky helped further improve the look of the film. "We developed our technology, camera and lighting to resemble the film had been shot with a camera. We use a ratio very broad and very deep so that the photograph was very rich. You can see some shots out of focus and in different layers to create compositions that seem to be painted with watercolors. Many planes also use hand-held cameras and still cameras, especially in space, so that the public is believed best what I was seeing on the screen, it believed that what he was seeing was a real robot in the real world. You feel you're watching a real scene completely. One of the great innovations we did for this film and Pixar, was key highlights preview before rolling to get a better idea of \u200b\u200bthe final frame of the movie. Before we had no information about the lighting at this stage of production. "
Danielle Feinberg was the director of photography for lighting. The acclaimed director of photography Roger Deakins ( "No Country for Old Men "[No Country for Old Men]," The Assassination of Jesse James by the Coward Robert Ford "[The Assassination of Jesse James by the Coward Robert Ford]) and the Oscar-winning visual effects legend Dennis Muren was advisors .
"When I saw the finished film, my first thought was, 'I've never seen a movie like this,'" concludes Morris. "I got the feeling that I was watching with eyes totally new."
Source: Walt Disney Studios
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