![]() ![]() In a way, making a film remotely is not new, you submit your work to be reviewed and we meet virtually once a day for feedback. Conversations that normally take 3mins would take hours. The next challenge was teamwork and transferring all the small interaction into digital. So, it was always on the road map and more importantly ingrained in the design, we “just” had to move it forward in the schedule.Ĭorentin Charron (our pipeline TD) took on the challenge and adapted BIP (our pipeline) to work remotely via VPN and use a cloud-hosted database. The first time we sat down to “think” our pipeline, years ago, working remotely was one of the requirements. Quentin Vien/Blinkink: Luckily our EP (Bart Yates) took the Covid situation seriously and we anticipated it early. Above and below: comparison between the colour board and the CG render.ģDVF: Due to the Covid-19 crisis, the team had to work remotely. Louis focused full time on Animation while I focus full time on the look and technical challenges. We wanted a very precise blueprint of the film, so later we could focus only on “making” it.ĭuring production, we split a bit more the work between animation (Cameras, Layout, character animation) and look/lighting (look dev, lighting, art direction etc.) Quentin Vien/Blinkink: It was obvious from the start that the project would need a heavyweight director specialised in animation.īlinkInk and Eddy have been long-time collaborators so we were excited to win a project that gave us the opportunity to harness Louis’ incredible talent as an animation director.ĭuring that time we also defined the look of the characters and the world, and worked with our art director, Camille Perrin, on a very detailed light-board. How did he get involved in this project, and can you tell us about the way you worked with him ? They loved it.ģDVF: Louis Clichy ( Asterix: The Mansions of the Gods, Asterix: The Secret of the Magic Potion) directed the short film. So we pitched some storylines and did a little test to show what we thought the universe could look like. ![]() Quentin Vien/Blinkink: Peak reached us with the best brief a Studio can get, they wanted us to translate their Toon Blast world and characters into an animated CG world. What was the client asking for, and how big was the team? Miniature set for New Breed music videoģDVF: You recently unveiled Tumbleweed, an animated short created for the mobile game Toon Blast by Peak.Here’s a little history of Blinkink CG projects: Until we felt we were ready to take on something as big as Toon Blast! Each project allowed us to improve our workflow, pipeline and build a team of freelancers. In the last 3 years, we gradually produced more complex CG work. The studio has now a permanent team of multi-talented artists focused on CG content. We use a variety of techniques such as Stop motion, 2d animation, CG or Live action. It is an award-winning company that covers the advertisement, music and broadcast industries. 3DVF: Hello Blinkink ! First of all, can you tell us a bit about the studio and its history?īlinkink is an animation studio based in London. ![]()
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