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The work, titled Borrowed Time, is an independent short film produced by Andrew Coats and Lou Hamou-Lhadj at Pixar. This short film is very hot, just look at the above awards and honors to see the wuhu Jun's heart itching, when my work can fill the entire screen ah.....
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Making independent short films is a difficult task. But what if you own Pixar's tools and render farm?
Andrew Coats and Lou Hamou-Lhadj took advantage of this to create the short film Borrowed Time, which tells the story of a sheriff who is always haunted by tragic memories.
The short film has won many accolades at the Animation Tour, won an Oscar qualifier at the Louis and Nashville Film Festival, and won another Award for Best Performance at the SIGGRAPH Computer Animation Festival this week.
What the? Can you make a non-Pixar animation at Pixar?
Borrowed Time was produced through Pixar's partnership program as part of the company's in-house Pixar University's Professional Talent Development Program.
Employees can use Pixar equipment in their spare time as long as they have successfully applied. Interestingly, Borrowed Time was the first CG film to be accepted within the company, and most of the works based on this collaborative program to date have been live-action films.
This is the first problem for directors, as other filmmakers use live-action equipment in the studio and do not adopt a complete animation workflow. "There's a lot of technical hurdles," says Pixar animator Coats, "and people at companies usually have their own film projects, and we don't have a team available." So we have to build everything."
It was also a challenge to build a production line for a short film in an environment where Pixar's technology was constantly changing, which took five years to complete. That means the director can only work with Pixar's current workflow, saying that the production line transition from Monsters University to Mind Agents has only been completed once — and Borrowed Time has changed three times in five years.
Perhaps the biggest difficulty with this line is The Coats and Hamou-Lhadj themselves, who are the character artists of most Pixar films, but they have no experience with other areas, such as lighting. So they had to learn, or get help from other Pixar artists (only allowing in-house employees to participate in the production of short films). Other artists only occasionally help at lunchtime and on weekends.
There are certainly huge advantages to being able to use Pixar's technology and render farms, but that's not to say that the director has the freedom to use it. "We had to make sure we didn't interfere with the normal progress of the company's projects," Hamou-Lhadj explains, "of the 30,000 slots on the farm, we can only use 100 of them." But is that better than being at home? ”
Lou Hamou-Lhadj和Andrew Coats
Writer/Director
Andrew's parents came from Colombia and Scotland, Peru, and he traveled extensively from an early age until he settled in the United States at the age of 16. Meanwhile, Lou's childhood was spent in the culturally rich suburbs of the exotic Southern Jersey. Although they had different upbringings, because of a shared hobby, Andrew and Lou met at NYU School of the Arts. It was here that they met for the first time and learned that they could translate these passions into the most rewarding art form: animation. They are like-minded, they both like to animate emotional frames, they both collaborate with each other in school to make short films, and vow to make a movie together one day.
Lou spent the next 8 years as a character artist at Pixar, where he worked on projects including WALL-E, Toy Story 3, Violent Clouds and the Stork, Day and Night, Brave, Toy Story: Forgotten Time, and Dinosaur Home.
For the first 3 years, he was in close contact with Andrew, who worked at Blue Sky Studios, working on the animations Hotton Adventures, Ice Age: Dawn of the Dinosaurs, and finally as a character leader in Rio's Adventures. Andrew later joined Pixar Animation in 2010 and then worked on Cars 2, Brave, Toy Story Horror Nights, Mind Crew, and Dinosaur Heads.
They rekindled their desire to create together at Pixar. In their spare time, for the past 5 years, they have been learning, growing, failing, choosing each other and eventually making their directorial debut, Borrowed Time.
Discover the story
Coats and Hamou-Lhadj have been brewing this story for years since they joined Pixar. They had the idea of this story when they were still in school.
After graduating from NYU's School of the Arts, they worked in different locations — Hamou-Lhadj at Pixar and Coats at Blue Sky Studios. But it wasn't until 2010 that Coats typed Pixar that Borrowed Time was born.
One of the early ideas that the two men had pondered for a long time was that it was a Western genre film. At that stage, as Coats describes it, "it's a Gobran-esque short film based on action, joy and madness".
But then they found that they were not satisfied with the story, as Hamou-Lhadj said, "Since we are going to spend so long making this film, we need to add some more substance to it." ”
The main character design of the film
The goal was a short film of ten minutes (the final length was only seven minutes), and they made countless polished modifications to the story. For example, they designed many minor characters to create a situation of betrayal around the sheriff before the theme, forgiveness. There was also an extra three or four minutes of robbery scenes that were cut out because they felt it was too action-packed and didn't help the story itself.
Cutting out the finished film is one of the most memorable aspects of the production process, as both directors have mentioned to Cartoon Brew. But sometimes it's devastating, like when one of their main characters—an old man—was conceptualized, modeled, bound, beautified, textured—and then removed from the short film.
Part of the problem is that the production process is sometimes a little faster than normal, which means, as Coats says, "We've spent so much time on him, and it's heart-wrenching to just delete it, and it's hard to make this decision."
Final sprint
Another problem is that they have to calculate how long it will take to complete the production. They admit that for weeks, they worked until the wee hours of the morning and were confused about the whole process, not knowing what they were going to do next until they realized what they needed.
It wasn't until they piqued the interest of producer Amanda Deering Jones (Pixar's screenplay director) that the production of Borrowed Time was back on track. "She did a fantastic job, and what we did sucked," Hamou-Lhadj joked.
Amanda Deering Jones
producer
Amanda started out as a guest house manager at the theater, and after graduating from college, she got a chance to enter DreamWorks and thus enter the animation industry. Over the next five years, Amanda co-produced Shark Story, Rat Nation Wanderer. The Other Side of the Fence and How to Train Your Dragon.
Not missing a single opportunity to travel, living in different places during the time, Amanda eventually discovered herself at Blue Sky Studios in New York (Ice Age: Dawn of the Dinosaurs) and then crossed the country to join Pixar (Monsters University and beyond).
Amanda later collaborated with Andrew & Lou on the short film Borrowed Time. It's a hard process but well worth it. She also recently helped produce a live action film, short film, Ryan. Amanda is married to the handsome gentleman, Mr. Jones, and they have three incredibly cute children, Dontie, Idgy and Doedles.
Jones was also crucial during the film's production process, where he was responsible for the mixing. She contacted composer Gustavo Santaolalla (Brokeback Mountain, Babel, The Last of Us, etc.) and reached out to Skywalker Sound for the final sound design. And, the director says, Jones has a "momentary love" for the improvisational passages that have been established in the storyboard, for example, he was already drawn to The Last of Us's temporary tracks before hearing Santaolalla's complete music.
Gustavo Santaolalla
composer
GUSTAVO SANTAOLALLA, has been recognized as a talented musician, composer, producer, composer, and has had a multi-stage career – from Argentina to the United States and back to Latin America. At a young age, in the late 1980s, his work caused a revolution. His key albums were a hit on the emerging rock band scene.
During his musical career, Santaolalla began composing music for films, starting with Robert Dornheim's film She Dances Alone. In 2000, his film career took off, Amores Perros, followed by 21 Grams, And The Motorcycle Diaries.
In 2007, Gustavo became the third composer in history to be awarded two consecutive awards for Best Score, Brokeback Mountain and Babel. He has also received Golden Globe nominations, and a staggering three consecutive BAFTA nominations.
Over the next six years, he composed songs for at least eight films, notably again with Alejandro Gonzalez Iñárritu and Walter Salles. In 2013, Santaolalla created the first video game, cutting-edge survival horror game, The Last of America, which was critically acclaimed.
In 2014, Santaolalla entered Jog Gutierrez's first animated film, The Book of Life, releasing his second solo album. Recently, Santaolalla collaborated with the directors of the animated short film Lou Hamou Lhadj and Andrew Coats on Borrowed Time.
Now, Coats and Hamou-Lhadj are taking the film to various film festivals and discussing their previous work at SIGGRAPH.
When asked if this or other similar film had any hope of becoming a long-form film, the director said it was too early to say. "We'd love to make feature films," Coats says, "but I don't know if reality allows it, especially with such a big budget." We've spent five years on this short film, so we're now eager to do something new and different."
Let's introduce two other behind-the-scenes creators:
Kathy Toon
edit
Borrowed Time is a short film debut as animation editor Kathy Toon! Her career as an animator began 12 years ago in Texas, Dallas, where she worked at Ant Bully (2006). She then moved to New York, expanding her skills and participating in the animated films The Adventures of Hotton, Ice Age: Dawn of the Dinosaurs, Rio Adventures and Ice Age 4. Toon now lives in California, and her most recent work includes an editorial assistant for Toy Story Horror Nights! Received an Emmy Award nomination for Best Editor in an animated television or radio production.
Having lived in eight states, Toon considered herself a wanderer; but much of her childhood was spent in Gainesville, GA. He studied at the University of North Texas with a degree in film. Toon now lives in Auckland with her husband (Mr. Toon), cats (Chloe and Billy) and 10 chickens (Susie, Hank, Meena, Frank, Gene, Meatball, Brutis, FogHorn, Petal and Tarantula).
Mark C. Harris
Co-writers
With his degree from the Art University College of San Francisco, Mark has been trained by artists from Pixar, Industrial Light and Magic. His unique foundation in painting and animated storytelling has guided him through 10 years of feature film experience. He has worked on Pixar's "Players 3", Blue Sky Studios' "Ice Age: Melting", "Hotton's Adventures", and Marvel's "Fantastic Four".
Mark loves challenges, loves evolving new technologies, and is involved in virtual reality story projects at Oculus Story Studios and Penrose Studios. He teaches master classes at the California Institute of the Arts, San Francisco University of the Arts, and The Animation Collaborative. His animation and acting majors have gone to Pixar Animation, Blue Studios, DreamWorks Studios, Oculus Story Studios and 2KSports Studios, among others.
As co-writer and animation director of Borrowed Time, he said, "It's refreshing to see such a deep theme in animation. The passion of so many talented artists and friends has left a deep imprint on my career path."
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