From day one, as soon as they start animating, it’s headed over to our visual effects department.”
And beyond that, once we actually get into animation, as soon as plates start to drop, we’re grabbing them and we’re starting to build shots. “We get to run in parallel with the other departments in pre-production if they’re developing characters and set, environments. “These films, they take upwards of two years once we start production,” notes Emerson. Luckily, he says, they have the advantage of time. I think, without that, you would feel where one medium ends and one picks up.”Įmerson notes, in fact, that his department tends to touch “every single frame of these movies, even if it’s in-camera and we’re just doing spot clean-up,” while also taking things a lot further with CG characters and environments. They are, right from day one, in those initial discussions. I think that’s another reason why it is a great hybrid process here, because we don’t bring them in half-way through production. “I’ve worked with our visual effects supervisor Steve Emerson closer than I ever have before, because they had to be involved in the project right from day one. “With our VFX department, the lines between the digital effects and the practical effects are becoming increasingly blurred,” says Butler. Director Chris Butler (left) and actor Timothy Olyphant (right) on the set of ‘Missing Link’. There were 531 CG assets built and 182 CG characters created. There are 1486 shots in the film CG set extensions were required in 465 shots, 460 had CG elements, 325 involved CG animation and 446 involved 2D and puppet seams clean-up. The stats certainly tell the story in the role visual effects came to play in making Missing Link. And I think what it’s allowed us as a studio that does stop-motion to tell bigger stories, to have a wider canvas on which to play.” We will do any trick in the book in order to give the audience the best possible version of that frame on the screen. I think it’s about taking what’s so fantastic about stop-motion, but not allowing that to limit your storytelling. “It’s not about hiding the stop-motion, it’s not about polishing the stop-motion so much so that it becomes something else. “My philosophy is that I want to put the best possible version of the image on the screen,” Missing Link director Chris Butler told befores & afters.
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