{"id":7491,"date":"2012-02-22T17:19:37","date_gmt":"2012-02-22T17:19:37","guid":{"rendered":"http:\/\/www.firedbydesign.com\/?p=7491"},"modified":"2012-02-22T20:04:11","modified_gmt":"2012-02-22T20:04:11","slug":"wolfish-comparisons-from-richard-bazley-and-amazing-spectacles","status":"publish","type":"post","link":"https:\/\/firedbydesign.com\/?p=7491","title":{"rendered":"Wolfish comparisons from Richard Bazley and Amazing Spectacles"},"content":{"rendered":"

Amazing Spectacles has combined traditional hand drawn animation with After Effects and other digital post production techniques in an advert for Gocompare.com<\/p>\n

\"\"<\/a><\/p>\n

The studio, an independently run animation facility backed by Prime Focus, delivered the ad \u2018Big Bad Wolf\u2019 for the UK comparison service, with direction by animation veteran Richard Bazley.<\/p>\n

\u2018Big Bad Wolf\u2019 sees the Three Little Pigs given a gentle warning from the Wolf to get some insurance for their house before he huffs and puffs and blows it down. Luckily, opera sensation Gio Compario is on hand to remind the pigs that when they insure they must be sure to go to Gocompare.com.<\/p>\n

\"\"<\/a><\/p>\n

The live action and animation mix, combined with ultra-modern digital processes delivered a slick looking commercial in record time. Amazing Spectacles producer Jules Pye, who has considerable experience in this genre, brought in a specialist team of animators, many of whom she had worked with on traditional 2D jobs in the past.<\/p>\n

\u201cThis is how many of us got started in the industry and to come back to these traditional methods, but add a modern twist is really exciting,\u201d Pye commented. \u201cIt\u2019s great to have light boxes and paper and pencils back in the studio!\u201d<\/p>\n

\"\"<\/p>\n

Discussing the decision to opt for 2D animation, director Richard Bazley, who started out on \u2018Who Framed Roger Rabbit\u2019 and counts Disney\u2019s \u2018Pocahontas\u2019, \u2018Tarzan\u2019 and \u2018Hercules\u2019 among his many credits, said \u201c2D has real character and a certain charm to it, and for this advert, with the characters that feature within it, it was the obvious route to choose.\u201d He added \u201cIt\u2019s a great moment when you place the characters you\u2019ve been working on into the background and suddenly you see the world you\u2019ve created.\u201d<\/p>\n

\"\"<\/a>Having sent a specialist Animation Director and VFX Supervisor to ensure everything was captured correctly at the live action shoot, designer Andrew Painter was then tasked with developing the characters. Meanwhile, lead animator Eoin Clarke designed and hand painted the backgrounds using the same technique and material used in the 1930\u2019s and 40\u2019s to give an authentic period look.<\/p>\n

Bazely and Clarke roughed out the key animation, which was then in-betweened and cleaned up by a team of assistants to produce a clean line required for digital artworking.<\/p>\n

\"\"<\/a><\/p>\n

The cleaned up drawings were then scanned and digitally painted by Jason Guest. Some elements such as the three little pig\u2019s house were CG creations by animator Martin Allan to match the look of the hand painted background. Once all the elements were completed they were composited together with the live action by Jason Guest using Adobe After Effects.<\/p>\n

\"\"<\/a><\/p>\n

Talking about the advantages that modern post production tools bring to the traditional animation process, Richard said, \u201cAlthough the animation is the same it enables us to do so many things more quickly like multi-planing to create depth. Some effects can be recreated digitally but there are certain effects, particularly the 1930\u2019s style ones, which need to be hand drawn and scanned in. The key to the success of a project like this is to seamlessly combine the two.\u201d<\/p>\n

\"\"<\/a><\/p>\n

Jules Pye added, \u201cTechnology has sped everything up, to do a job like this in the old days would have taken around 16 weeks but, even with a fairly relaxed schedule, we still only require 9 – 10 weeks.\u201d<\/p>\n

\u00a0Visit Amazing Spectacles\u2028\u2028<\/a><\/p>\n

Credits<\/strong>:\u2028<\/address>\n
Project: Gocompare.com \u2018Big Bad Wolf\u2019<\/address>\n
Client: Gocompare.com<\/address>\n
Creative: Sian & Chris Wilkins<\/address>\n
Animation Company: Amazing Spectacles<\/address>\n
Director: Richard Bazley<\/a><\/address>\n
VFX Supervisor: Derek Moore<\/address>\n
Producer: Jules Pye<\/address>\n
Senior Animator: Eoin Clarke<\/address>\n
Clean-up Artist: Veronique Langdon<\/address>\n
Head of Digital Ink and Paint: Jason Guest<\/address>\n

 <\/p>\n

\u00a0<\/address>\n","protected":false},"excerpt":{"rendered":"

Amazing Spectacles has combined traditional hand drawn animation with After Effects and other digital post techniques in a spot directed by Richard Bazely<\/p>\n","protected":false},"author":129,"featured_media":7492,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[18,223],"tags":[1265,386,27,2348,431,2347,64],"class_list":["post-7491","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-animation-projects","category-postproduction","tag-2d-animation","tag-adobe-after-effects","tag-ad-spot","tag-amazing-spectacles","tag-prime-focus","tag-richard-bazely","tag-tv"],"yoast_head":"\nWolfish comparisons from Richard Bazley and Amazing Spectacles - Fired By Design<\/title>\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=7491\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:title\" content=\"Wolfish comparisons from Richard Bazley and Amazing Spectacles - 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