{"id":15188,"date":"2021-12-14T20:47:07","date_gmt":"2021-12-14T20:47:07","guid":{"rendered":"https:\/\/www.firedbydesign.com\/?p=15188"},"modified":"2021-12-14T21:06:45","modified_gmt":"2021-12-14T21:06:45","slug":"15188","status":"publish","type":"post","link":"https:\/\/firedbydesign.com\/?p=15188","title":{"rendered":"Framestore delivers magic & mice for A Boy Called Christmas"},"content":{"rendered":"\n
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A Boy Called Christmas<\/em><\/p>\n<\/div><\/div>\n\n\n\n

Framestore has partnered with StudioCanal and Blueprint Pictures to deliver VFX on Gil Kenan\u2019s film A Boy Called Christmas.<\/em><\/p>\n\n\n\n

Based on the Matt Haig<\/a> book of the same name and directed by Gil Kenan<\/a>, the film follows the story of a young boy called Nikolas, who sets out on an extraordinary adventure into the snowy north in search of his father. Nikolas is joined by a headstrong reindeer called Blitzen, and a fully CG mouse voiced by Stephen Merchant. <\/a><\/p>\n\n\n\n

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Merchant\u2019s character Miika featured in over half of the 874 shots that Framestore crafted for the film, mostly during lockdown, with production and artists working from home for the last four months of the project. From start to finish, the feature took 70 weeks to complete, and was worked on by 342 Framestore artists led by overall VFX Supervisor Glen Pratt.<\/a><\/p>\n\n\n\n

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\u201cGlen and Framestore were creative collaborators on the film from the very earliest stages of pre-production all the way through to final colour,\u201d says director Gil Kenan. \u201cWorking together from script to screen meant that we could develop ideas and evolve storytelling in real time, so that by the time we were in post-production most foundational questions were answered and we could focus on the essentials like performance. We had many conversations about approach in prep, including a pivotal scout to the arctic circle that inspired much of the journey in the film. <\/p>\n\n\n\n

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“During this period we came up with the methodology for marrying extraordinary natural environments with stylized but photoreal characters and sets. Glen, Jo [Nodwell, VFX Producer], Stuart [Penn, VFX Supervisor], Dale [Newton, Animation Supervisor], Chris [Hurtt, Animation Supervisor] and their teams put their hearts and souls into helping to tell this story and the finished film shines because of it.\u201d<\/p>\n\n\n\n

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\u201cGil had a really clear and distinctive vision for the film,\u201d explains Glen Pratt. \u201cHe\u2019d talk about classic westerns in terms of cinematography: how negative space would create the frame. This really shines through in how these huge expanses of snow and epic landscapes are used to frame beautiful shapes – antlers, say – to create something really special.\u201d<\/p>\n\n\n\n

Chatty mouse<\/h2>\n\n\n\n
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Producing photorealistic CG characters that retained emotive facial expressions, while still looking like real animals was a challenge. \u201cMiika the mouse became the star of the show for me\u201d says VFX Supervisor Stuart Penn<\/a>. \u201cWhen developing the look, we started off with a photoreal mouse, and then exaggerated some features, making sure his mouth stayed mouse-like, but was able to \u2018talk\u2019 using an open\/close movement. We were working with much fewer muscles than there would be in a human face, so we helped make him more expressive by twitching his nose, and using his eyes and ears to convey emotion as well\u201d.<\/p>\n\n\n\n

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\u201cWe all know that animals can\u2019t talk, so if you apply human physiology to them it gets disturbing very quickly,\u201d adds Pratt. \u201cThe focus therefore has to be on body language and real-life reference, and hats off to Dale Newton, Chris Hurtt <\/a>and the animation team because they were able to marry this seamlessly with Stephen Merchant\u2019s brilliant performance. They\u2019ve managed to really capture the essence of this, distilling it all down into a character who might be small but has a huge personality.\u201d<\/p>\n\n\n\n

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\u201cWe were careful to build a mouse that, although designed and thus a little stylised, would be convincingly performed as if by a real mouse\u201d explains Animation Supervisor Dale Newton<\/a>. \u201cWe found some harvest mice at a summer fair that were especially sweet. We shot hours of reference material observing the way they walk, breathe, climb, sniff, snuffle, and yawn, all of which was analysed and rebuilt by our assets team into our Miika animation puppet.\u201d The animation team then used the same footage to immerse themselves into the headspace when coming up with performances. \u201cI think some of my favourite Miika moments are those that have been carefully observed from life and adapted into a scene in the film.\u201d<\/p>\n\n\n\n

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\u201cMiika is an audience favourite precisely because the animation teams, led by Dale Newton and Chris Hurtt, completely embraced the dry, \u2018thrown-away\u2019 snide brilliance of Stephen’s performance and channeled it on the screen,” says Kenan. “The Framestore team delivered a key shot very early in the process that confirmed that the balance had been struck and that we were on the right track. From that moment on it became a joyous process of making sure that the Miika standard was hit across the board and that every shot lived up to the potential of the character.\u201d<\/p>\n\n\n\n

Truth be told<\/h2>\n\n\n\n
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Another challenge was the creation of the Truth Pixie character, played by Zoe Colletti.<\/a><\/p>\n\n\n\n

Framestore\u2019s team had to replace Colletti\u2019s hair and body, creating digital costumes until ultimately only her face remained. \u201cThe Truth Pixie presented us with some very specific challenges,\u201d says Pratt. \u201cGil wanted the film to [be grounded]; to not be too otherworldly or fantastical. This meant we quickly moved on from the idea of a wholly CG Truth Pixie, and to instead use a mix of live action photography and CG to subtly imbue Zoe Colletti with more pixie-like qualities and characteristics.\u201d<\/p>\n\n\n\n

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\u201cThe Truth Pixie has a shorter body, but a human sized head, so she was fully CG from the neck down,\u201d explains Penn. \u201cShe was not a Tinkerbell-sized creation, in that she was not human proportions made small, so while filming the actress wore a height-limiting harness to help her crouch down, or the rest of the cast stood on boxes, to make sure her head was in the right place. There was a lot of head-tracking, taking her on and off the plate to add her body and costume later, and replacing her hair and ears.\u201d<\/p>\n\n\n\n

Snowscapes<\/h2>\n\n\n\n
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The prep included an early recce to Lapland, taken by Kenan, Pratt and production designer Gary Williamson<\/a>. \u201cWe went in December, when the sun rises at 11.30am and sets at 1.30pm,\u201d says Pratt. \u201cYour whole day lasts three hours, but it\u2019s \u2018magic hour\u2019 the whole time. You get this incredibly special light, and this wonderful palette went on to infuse the film and, of course, our VFX.\u201d<\/p>\n\n\n\n

The trip also took in the Northern Lights and the craftsmanship of the S\u00e1mi people, helping to inform the team\u2019s work as they brought the world of Nikolas, Miika and Blitzen to life. The film also involved shooting in Prague and London, and a two-week recce to a frozen lake in Slovakia to shoot real snow and ice – perfect reference footage for a show that required exquisite attention to detail, for stunning CG vistas or an early establishing shot that focuses on a single, beautifully wrought snowflake.<\/p>\n\n\n\n

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The feature proved a tricky project for Environments Supervisor Jerome Martinez<\/a>, who had to sleep in a garage in the mountains after being stranded by a snowstorm during a reference drone shoot. The crew were thankfully able to thaw out, filming overcast shots on the snowy Elfheim set in over 35\u00baC heat with a clear blue sky, while the cast wore costumes of thick winter coats. Framestore added falling snow in many of the sequences throughout the film, to further drive home the wintery, Christmas feel.<\/p>\n\n\n\n

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A Boy Called Christmas also allowed the visual effects artists at Framestore to create environments entirely in CG. Mid-way through the film, Miika and Nicolas happen upon a mouth-watering \u2018cake city\u2019, and Miika wastes no time diving into this delicious biscuity construction. \u201cGil always seems to be storyboarding on his iPad,\u201d recalls Pratt. \u201cI actually remember him showing me this idea in the Framestore reception – he had the storyboard mapped out, and I loved it straight away. The clarity of his vision for the scene meant we could really hit the ground running, and despite its complexity it didn\u2019t require a lot of iterative work.<\/p>\n\n\n\n

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\u201cProduction designer Gary Williamson came up with the concept art, and there were actually expert cake-makers who worked with him and the set designers to build it as a practical, miniature set. We shot it at Twickenham Studios, and captured the entire construction with photogrammetry. This meant we captured the lighting exactly as Gil and DOP Zac Nicholson<\/a> wanted it, and also gave our VFX work a sense of tangibility. To me it\u2019s not just a charming, funny sequence, but also a brilliant example of how VFX can bring a director\u2019s creative vision to life.\u201d<\/p>\n\n\n\n

Kenan agrees: \u201cIt was a lot of trouble to go through for a shot that could have been completely virtual, but the tactile nature of the finished sequence – and the fact that I get hungry every time I watch it – suggests that the trouble was worth it.\u201d<\/p>\n\n\n\n

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See more work by Framestore on Fired By Design<\/a><\/p>\n\n\n\n

Visit Framestore<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Framestore has delivered magical VFX for Gil Kenan\u2019s film A Boy Called Christmas, with 342 artists taking 70 weeks to create 874 CG character, environment and animation shots<\/p>\n","protected":false},"author":129,"featured_media":15195,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[68],"tags":[1011,1321,1371,3030,607,2684,205],"class_list":["post-15188","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-vfx-projects","tag-cg-animation","tag-cg-characters","tag-cg-environments","tag-christmas","tag-framestore","tag-mice","tag-vfx"],"yoast_head":"\nFramestore delivers magic & mice for A Boy Called Christmas - Fired By Design<\/title>\n<meta name=\"description\" content=\"Framestore created 874 magical VFX shots for Gil Kenan\u2019s festive film, including a mouse named Miika\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/firedbydesign.com\/?p=15188\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:title\" content=\"Framestore delivers magic & mice for A Boy Called Christmas - 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