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DDU dazzles with Merry Madagascar at CGTExpo ‘09
 

BY CHAITRA SHETTY


DDU at Paprikaas, from L to R, Philippe Gluckman,
Soumitra Gokhale , Madhavarao Bheesetty,Anand Baid, Jennifer Lasrado,Vimal Subramanian, Sachin Paranjpe

The DreamWorks Dedicated Unit (DDU) at Paprikaas, Bangalore started with a set of 13 employees and today has a manpower set up of 125 and is still growing. The major challenge in this growth journey was training and adapting the employees to the DreamWorks pipeline. The extended training started with work on commercial projects but the major project came in the form of Merry Madagascar (initially known as Mad Santa) a 20 min film which features the characters of the movie Madagascar in a Christmas adventure.

In an exclusive ‘professionals only’ session at CGTExpo ‘09, the team from DDU showcased the work that is currently going on at DDU for Merry Madagascar. DDU Creative Director Philippe Gluckman shared that even though this project is meant for broadcast, the quality, amount of care and the production schedule followed for the same is equal to a feature project.

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The timeline of Merry Madagascar falls between Madagascar one and two. “Although we weren’t blazing new grounds with this project since the assets for the same were ready and were provided by the US team, the execution of this project was very challenging and enriching experience. We had to develop few environments and plenty of FX to spice up the film and the artists working here were asked to scale upto the quality of the original film in a span of just three months,” adds Phillip.

Anand Baid, Character Animator, DDU explained the complete procedure that is followed at the studio in the animation process. The work is done on the proprietary EMO software and is done in various stages. It starts off with rough blocking were only key poses are animated and the progression of shot, the energy level and transition points are defined. This is then approved by the director and sometimes after a lot of to and fro is finalized.

He shares, “Animating Marty was a learning experience since he is a Zebra, a horse like character but still a biped. In my first pass of animation I made him walk like a man and my director actually felt it was looking like a pregnant woman walking.” When it comes to the final animation Anand shared he uses a layered approach wherein every body part is animated separately, simplifying the process and at the same time giving more control.

“For years I used to wonder seeing the DreamWorks films, what is it that they do differently? But today working at DDU I know the answer and it is the animation process, animation technique and the animation software. Here at DDU we do two or three passes of animation at the blocking stage itself. The director doesn’t compromise on anything and insists on maintaining one on one relationship with every artist working on the project.” said Soumitra Gokhale, Character Animator, DDU. He said that the rigs that they were animating with were the ones that were used for the movie and had as many as 500 controls but they had to refrain from getting into detailing in the blocking stages. And unlike other studios after the final animation is locked, artists are given the time of one and half day to work on finessing it further.

Jennifer Lasrado CFX artist at DDU talked about the various areas across which CFX team works including fixing character contact intersection, Hair/Fur/Cloth simulation, secondary animation and developing and automating setups. “On this project the mane of Alex the lion was one of the things that we had to work upon. When the wind blew even though his hair is flying and the mane is getting deformed, it still had to maintain a particular shape with the hair not falling on his face. The character of King Julian called also for a lot of work to deal with fur penetration due to his love of touching himself all the time while talking. Another complicated sequence was the one that involved an air balloon catching fire. Since the balloon is in air and the wind is blowing heavily, we had to get the wrinkles and deflations right,” she adds.

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Adding to this sequence of air balloon catching fire DDU FX Artsit Madhavarao Bheesetty adds, “Creating fire and making it stay with the balloon was a difficult task. The balloon was rotating fast and it was not easy to make the fire rotate with the balloon. We actually created different versions of fire and the way the balloon will catch fire to make them look connected. Finally we went ahead with the way in which the balloon catches fire and the fire spreads following the lines of lettering on the balloon to make it look more realistic.”

Merry Madagascar has Alex, Marty, Gloria and Melman going across the world on a sleigh driven by penguins and the power of some amazing Pixie dust delivering presents. Sachin Paranjpe, FX Artist DDU shares, “We wanted to create a stylized reality with the pixie dust and wanted it give it a graphical element. But the pixie dust had particles and smoke and the integration was a major challenge. We had to treat the behavior of pixie dust in different environments and setups because the sleigh goes through different locations including snow clad regions and the deserts of Egypt. We had to also device it according to the speed of the sleigh which kept on varying.”

“I started maintaining a log of the sequence so as to record how many times it went back and forth which was around 50-60 times. It actually shows our journey starting with excitement going to exhaustion to ecstasy,” he adds.

Being the last leg in the 3D process isn’t an easy task as you are the one to locate the problem in the last stage, detect which department has to fix and go back to the department and get it fixed shared Vimal Subramanium Lead Lighter DDU. He adds, “In lighting we go through three very stable approval processes and one very painful approval process. Although we start the lighting process according to the key art our main responsibility is to make the storytellers stand out in the frame and the shot is not over if you only work according to the key art.”

Another innovative practice at DDU is that they don’t have a dedicated compositing department; artists of every department handle their compositing work themselves.

Although the session was a two hour long one, the gung ho attitude of the energetic speakers and the beautiful work that was being showcased kept the audience wanting for more. There was a repeat session of the same on the Day 2 of the Expo as well and needless to say it went houseful as well.

chaitras@animationxpress.com

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