One of the big challenges on the film was the take the original Pokemon 2D artwork, and create characters which could be fitted into a photoreal VFX environment.
If you think that's an easy task, consider the trouble caused by the recent release of the trailer for the Sonic the Hedgehog movie, in which a fan rebellion against the look and feel of Sonic led to a bottom-up re-design of the character.
Taking the original Pokemon characters to the big screen wasn't simple, and took a lot of careful development.
Pikachu is an iconic Pokemon - he is the most easily identifiable; quite different to the naturalistic animals that Framestore are used to making, and this required a new approach to the visual development of the project.
The Pokemon company was heavily involved in the look and feel of the movie from the start, and they needed to sign off on all the characters and the VFX work. Framestore are used to creating photo-real animals and creatures, but the Pokemon company wanted their characters to be as cute as possible - just like the original hand-drawn designs.
Characters like Gengar posed a special problem; Gengar is basically "just a balloon", and Framestore had to do a lot of development work to find a style that could fit inside a photo-real world, but was also true to the character.
They also had the challenge of working on assets alongside MPC; both studios had different pipelines and used different assets to create their Pikachu animation.
It was also difficult to get the facial expressions right; the animators very quickly began to generate crazy expressions, which "didn't always work" in practice. So Framestore had to create a style guide, to keep the animators on model.
While the characters were being designed, the animators shot live-action reference to help get the acting and performance right. They developed each individual characters; how they would move, how each one would behave.
For the live-action shoot, stuffed Pokemon toys ("stuffies") were created for the actors to interact with. The stuffies would eventually be removed and replaced by digital work for the final shots, but having a stuffed toy on the physical set helped the actors get the performance and the eyelines right.
For the big fight scene, Framestore invested a lot of time in pre-vis and Sketch-vis; the latter a hand-drawn layer on top of the live-action plates, to help the director imagine where the final animation will go. The sketch-vis pass was very rough, but "very fast and very cheap".
Jobs at Framestore
Jonathan explained that artists at Framestore are becoming increasingly specialised. Animators animate, modelers model. Animation in particular is a very demanding role; Framestore is well known for their animation quality and they are "very proud of it". In 2018 Framestore hired almost 30 new animators, taking the department head count to around 150.
The Escape Studios Animation Blog offers a personal view on the art of animation and visual effects. To find out more about our new BA/MArt, now recruiting for September 2019, follow this link. To apply, visit the official page here.