Meet the Robinsons - Wikipedia
Meet the Robinsons is a American computer-animated science fiction comedy film produced by Walt Disney Animation Studios and released by Walt. Meet the Robinsons () Cameron Monaghan at an event for Meet the .. as being separate from Pixar, renaming themselves "Walt Disney Animation Studios. Quotes. [first lines] Michael "Goob" Yagoobian: Then, um, I didn't choose that. I haven't seen it yet, but a friend (who knows what a Disney nut I am) saw the movie and she is looking for the quote from Walt Disney at the.
We knew we had such a range of emotion after boarding our movie and the dynamics we'd have to achieve with our acting, so we kept pushing to find the balance between a realistic and cartoony kind of human.
The trick for me was that the choices we made could never pull the audience out of the movie and distance them from the characters. That was the journey that we had from the very beginning. I'm really pleased with what we came up with because there's a very simple graphic language with a real appeal to their faces.
Meet the Robinsons () - IMDb
But you feel the flesh, you feel the muscles, you feel the chins and knees. They referred to Disney animation from the 50s as the present while in the future things zip around like Warner Bros. After six months of boarding the movie and putting them up on reels, production began in with a crew of Given Joyce's retro style -- influenced by everything from Technicolor movies to '40s architectural design -- Anderson and his design team looked for dramatic contrasts to depict the present and future.
According to art director Robh Ruppel, who studied, among other things, the way cinematographers Vittorio Storaro Reds and Caleb Deschanel The Natural handle period looks, the philosophy could be summed up thusly: Every time he thinks about the past, every time he gets further from his answer, we pull more color out.
Every time we go into the past, we pull most of the blues and the higher saturated colors out. The present is in between those worlds, color wise: In the shape design, we tried to keep the present day very boxy and square. Everything's on a grid, everything's a little repetitive, everything's a little busy. So that when you go to the future, the view is unobstructed, the building shapes are very curved. There's pleasantness to it. It's just one big giant factory.
We talked a lot about Apple products: Soft, happy, puffy clouds, blue skies and bubbles. The Incredibles was a definite inspiration for this. It was eye-popping to me, and certainly part of my education in 3D and how to do character animation with all of its subtleties. We looked at a lot of Warner Bros. Alice in Wonderland, Cinderella and Peter Pan were Disney inspirations as far as combining believable characters with much more caricatured ones in the same scenes.
In the future, things move a little bit faster and are quirkier and more off beat, with characters that can zip around like Warner Bros.
Walt Disney Quotes
It creates shadows based on the proximity of one object to another. It's a way to avoid that glowy feel that computer animation has or the way mouths look like they're illuminated from inside.
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Occlusion, because it's a closed space in there, will darken that mouth immediately. Then when we add our texture and lighting on top of that, you have a bit more real look to the images you're creating. It took a while because I'm so used to how you create the impression of space in 2D: In 3D, it's still an impression, it's still an illusion, but it's that much greater. What is the texture of a certain character or a certain building material? I never would think of those things.
That really opened up a whole new world for me. So I went from impressionistic thinking to realistic thinking.
Because our movie got off and running so quickly, it was a matter of me getting thrown into it and watching what everyone was doing. They would ask me questions like: My education was leaning on people around me and relying on them. The rig was based on Chicken Little, but departed somewhat with an automated rig setup that allowed them to churn out a number of rigs that the rigging department wouldn't have to build from scratch.
These base set templates allowed certain blend shapes to be spread across a similar topology on different types of rig structures. After Shock is a dynamics tool built off of Maya's tool that allowed them to calculate speed, velocity and direction of, say, Lewis' head turning. And the animator could dial in the amount of drag and resistance and to spit that out basically for free.
We could then bake it out and then simplify the baking out so that the animator could use every bit of it or hand-tweak [what they don't like] themselves, or run a simulation on that part if they like.
Categories Follow Blog via Email Enter your email address to follow this blog and receive notifications of new posts by email. How I talked about the fact that it had lots of hype yet the final result was kind of underwhelming? Read my review here. It just seemed rather underwhelming based on my expectations. You could argue that the actual land at the Disney Theme Parks has some intense and dark rides, but that was the Tomorrowland it eventually became; more family thrill rides and entertainment, not the original Disney vision.
'Meet The Robinsons': Keep Moving Forward at Disney
Lewis, a year-old boy genius, spends his time creating inventions, but just about everything he creates ends up being a bit of a disaster. Not to mention he happens to be an orphan, as his mother left him on the doorsteps of an orphanage when he was just a baby. This gives him the idea to build a memory machine, a machine that can travel into his deepest, long lost memories to help him remember what his mother looked like as he believes he saw her once as a baby.
However, as he is about to show off his invention, it goes wrong, thanks to a mysterious Bowler-Hat Guy. He proves this by shoving Lewis into his flying time-machine and takes him to the future to show him how technology has advanced, creating a cool, beautiful world of possibilities.
Unfortunately, upon trying to use the time-machine to go back to find his past, he breaks the time-machine, so he has to stay in the future until the time-machine is fixed. However, they are nice enough to Lewis and he finds them to be a sweet family in the end. The evil Bowler-Hat Guy double-crosses Lewis into showing him how the memory machine works and thus the Bowler-Hat Guy reveals the truth: And with this in mind, Lewis escapes and tries to stop Goob from ruining the future.
And not only that, but as Lewis also has a chance to discover his long-lost mother, he decides not to, as it might alter the possible future. So lets go of the past and looks forward to the crazy but sweet family he has met in the future. Thus, he is soon adopted by a silly but nice couple, and thus starts his beginning of a brighter future.
And the film ends with a quote by Walt Disney at the end.
The book is about a boy who spends a day with his friend Wilbur Robinson and meets his family and looks at all the crazy and kooky things they do. Disney originally got a hold of the rights to the book to adapt it into a movie, live-action at first, even bringing in Peter Jackson to direct. However, due to certain complications, the project was shelved, Peter Jackson was kicked off, and the concept for the film remained unheard of until years later, when it was decided that it would be animated with CGI.
Disney used pretty much the same character designs from the book only slightly altered to fit the Disney style and even adapted the concept of the book into one particular scene in the movie, the scene where Lewis is introduced to the Robinson family.
Everything else about the film was completely made up for an original story and different purpose. In fact, this very future inspired my own cartoon style for the city that my own characters live in: