A movie comic or a comic movie book if there will is or was anything like it.
They had one goal - to mimic the graphic style of comic book art and illustration using all it takes from ink lines and half-tone dots to multi-panel images. Sony Pictures animations took a big out of the rule book on the Oscar-nominated animated feature “Spider-Man: Into the Spider-Verse” pay off big.
“The movie was our focus and our only boss,” says Josh Beveridge, head of character animationSony Pictures Imageworks’ Vancouver facility, who oversaw over 180 animators.
Beveridge says the direction of the movie was almost entirely “on twos.” That typically refers to holding a single image for two frames instead of one so only 12 are required to produce one second of film, but it meant many things on this film.
Animators could use as much or as little of the technique as they wanted, and in as many ways as the graphic look of the movie required. Sometimes a character’s face was animated on ones and the rest of them on twos, says Beveridge.
This represented various specialized difficulties, particularly with components we usually make using simulation, similar to material science, fabric, and hair, and camera swings and movements. "We needed to think of extremely clever instruments to most likely get our postures on twos to not be strobing near," says Beveridge.
Completely reproduced impacts and effects like flame and blasts demonstrated excessively reasonable, hauling watchers out of the motion picture, says VFX chief Danny Dimian. The effect group unraveled that by returning to the film's visual motivation and adding hand-drawings elements with those effects.
“What we did was work with 2D effects animators to build libraries of these beautifully designed cycles,” he says. “The timing of it was still simulation-based and we had simulation all around it to mix and match, but you always had this beautifully designed, hand-drawn part that was in there as well, and that kind of tied everything together.
Characters as diverse as the Looney Tunes-inspired movements of Spider-Ham and the anime-flavored Peni Parker and Sp//dr had to be built differently from the more human characters. “We needed Ham and Peni to be pliable, to feel like they are drawings even more so than the other characters,” says Beveridge. ”Every frame is really engineered to feel like its a drawing.”
And action sequences were a true group effort, with entire teams and departments collaborating and throwing out ideas to find solutions.
“It’s such a dance between camera language, the performance, speed, the edit — all of these things are so precise that it has to be workshopped together,” says Beveridge. “Those areas felt like guerrilla filmmaking and it tested our boundaries and I’m proud of how it turned out.”