Double Negative

So Duncan Studios stepped up for that one and, and hand, um, drew Bugs, for example, for that scene that Bugs is in.

And, um, it, I, I, I love, I love those little touches, and I think the VFX team, the DNEG, uh, the DNEG VFX team did a really great job.

And I know some people with keen eyes and very, um, like very deep anim- animation backgrounds, they'll, they'll probably figure out the differences and can point out to it.

But, um, but I, I think generally it's a really great result that we got that blends seamlessly b- between the, the different approaches of getting these Looney Tunes characters on the screen.

Animation wise I think the live-action animation mix works quite well.

DNEG did the main animation for the 3D side here.

They're the main visual effects studio behind Dune.

Not surprising that this film also looks good.

You know, he was on set in the later scenes in the movie, um, in front of, you know, the whole cast and just kind of sermonizing and really like giving the room so much electricity, uh, just from his performance.

Um, I would say that, you know, the final result of the movie is a mix of characters who are entirely 2D drawn and executed, and characters who were finished by DNEG, um, in, as 3D animated characters.

Um, I think the, the tool set has matured so much since Roger Rabbit obviously.

At, at that time, the way light was being handled, shadow was being handled, reflection was being handled was like...

It was really, really, really complicated and had to be done, you know, entirely by hand.

And I think the kinds of tools that we are using now allow you to get away with s- you know, some of those comp details and polish details, I, I don't wanna say for free because, um, but DNEG's back end lighting tools and comp tools basically mean that we're putting a character who's animated into a scene, and you're getting all of the, you know, occlusion, bounce, shadow, um, reflection that is being absorbed into the scenes, uh, just like those characters were, were completely real.

So I, I think what, I think what you would see i- if you looked really closely at, at the final result here is just probably a l- a level in the detail.

The detail of the detail is like, i- is a little bit more evolved now, but that is not to say...

They felt like Sammy had done a great job paying attention to detail in the first place.

And so what we, what we got was just this environment of storyboard artists and musicians and, you know, editors and, um, artists at DNEG and collaborators across the board.

Of course, our, you know, brilliant cast.

Like, they all, they all saw that in the assignment, and they all just jumped into it and, and, and gave it great care, and gave it 150%.

Of course, in the beginning we were, uh, uh, online and we were talking, uh, over Zoom and all of that.

But, uh, pretty soon we were in the, in the studio at DNEG.

We had our room and it was, I don't know, just an incredible experience.

Wow.

You know, you could pluck him out of this movie and put him into his own short at any point and it would, like, m- align with what Chuck Jones was doing.

And-

Yeah, it was, it was a lot of work that the, the people at DNEG did because they, you know, they-- It's a tough, it's very tough to get these characters that are meant to be seen and to be drawn in 2D and to make they survive as a 3D character without losing their character, right?

Yes.

And then we had Johnny Adamson, who was previously a kind of senior kind of recruiter at DNEG.

And now he's part of Brahma AI, which is still part of the DNEG group.

And Johnny is a senior talent manager there and also Access VFX board member.

So wearing his Access VFX hat on as well.