How Artists Enhance Animated Features Like ‘Transformers One’ and ‘Wild Robot’ Despite AI Support

Innovative imagery has become increasingly attainable for numerous leading candidates in the animated feature Oscar race due to advancements in technology, yet the emphasis remains on the craftsmanship of experienced artisans rather than reliance on AI or machine learning.

While some filmmakers may incorporate machine learning during initial motion capture or idea development, the expertise of seasoned VFX artists and animators plays a vital role in crafting the distinct visuals desired by directors. Meanwhile, projects like “Lord of the Rings: The Lord of the Rohirrim” prioritize traditional, low-tech methods to achieve their artistic vision.

In the creation of “Transformers One,” director Josh Cooley focused heavily on researching previous Transformers narratives and exploring various metals to evoke the desired impact. The production team comprised numerous artists who grew up with the franchise, each possessing strong opinions about character design and movement.

VFX supervisor Frazer Churchill emphasizes that although some machine learning was utilized in the film’s early stages alongside motion capture, none of that technology made its way into the final product.

“The artistry and time invested in this film are paramount,” Churchill explains. “Our primary goal was to make the metal appear tangible. We aimed for an audience experience that feels like they can touch the metallic characters.

We compiled an extensive library of metal surfaces with our surfacing artists, analyzing different metals and painted finishes. The use of vibrant colors also contributes to a more stylized aesthetic.

All our lighting techniques adhere to what we term ‘plausible lighting,’ with numerous light sources strategically placed to achieve a cinematic backlit effect, exemplified by the striking rim light on Megatron. These decisions are made by artists.”

Cooley acknowledges the limitations of AI at this juncture, stating, “AI can only produce outputs based on the input provided,” highlighting the necessity of having an enthusiastic crew of filmmakers passionate about the Transformers franchise for genuine innovation.

Interestingly, in “The Wild Robot,” which tells the tale of a robot forming a bond with a gosling it nurtures, the filmmakers deemed AI unnecessary. VFX supervisor Jeff Budsberg adopted a painterly style for the film’s visuals, reflecting director Chris Sanders’ desire for a fairy-tale aesthetic characterized by a softer and more impressionistic approach. This vision not only aligns with the source material but also fosters a warmer atmosphere throughout the film.

“Strategically placing detail and eliminating unnecessary information can guide the audience’s attention intentionally,” Budsberg notes. “Early on, Chris expressed his intention to pay homage to classic Disney films like ‘Bambi’ and was influenced by Miyazaki’s work.

Those enchanting environments evoke a sense of warmth and allure. He challenged my team to bring this vision to life. My previous work on ‘The Bad Guys’ involved exploring a non-photo-realistic style that resembled comic books, akin to drawing with a Prismacolor marker.

This experience laid the groundwork for the stylistic leap in 2022’s ‘Puss in Boots,’ which took a different fantasy-oriented approach. The current blend of 2D and 3D styles is fascinating. Presently, we don’t utilize AI in DreamWorks productions, as we view it as still in a Wild West stage of development, insufficiently specific for the look we desire in ‘The Wild Robot.’”

At Pixar, AI has been integrated into various facets of animated filmmaking for quite some time. While the primary artistic innovation is still driven by human creators, certain tasks, such as denoising images, benefit from AI and machine learning assistance.

For instance, “Inside Out 2” employed RenderMan 25, which utilizes machine learning technology to remove visual noise. However, this process requires careful monitoring by artists to ensure it achieves the desired results.

In “Piece by Piece,” an animated Lego biopic focused on musician/producer/entrepreneur Pharrell Williams, director Morgan Neville aimed to create relatable and human-like Lego characters, particularly since many represent renowned musicians Williams encounters throughout his journey.

To achieve this, Neville and his team utilized scanning technology to capture and map the faces of individuals featured in the biopic, transforming them into Lego figures.

“There were specific guidelines governing how the Lego characters could move and interact, as Lego itself imposes limitations,” Neville explains. “Everything must align with the practical capabilities of Lego in reality, which requires us to pass within those parameters.

Nonetheless, there was ample opportunity for creativity, such as animating Legos to mimic moving water and depicting boats floating on Lego-crafted waves, all managed by our talented artists who embraced these challenges.”

“Lord of the Rings: The Lord of the Rohirrim” employs traditional Japanese 2D animation techniques and a hand-drawn aesthetic, fostering a painterly style that permeates its characters and lighting. While AI did not play a role in this production, CGI animation supervisor Kei Yoshimizu views it as a future component of Japanese animation.

“There’s no doubt that AI will gradually find its way into various elements of the anime production industry in Japan,” Yoshimizu states through a translator. “This progression resembles the introduction of 3D CGI in the 1990s. In this project, for instance, 3D CGI fulfills a large background function, while other projects may prominently feature 3D components.

Regardless, these technologies aim to enhance anime creation, with fully 3D productions that bypass hand-drawn methods remaining rare in Japan. However, 3D CGI has become an integral part of the anime production process, yet it has not completely supplanted traditional animation techniques.”

Conversely, Yoshimizu acknowledges the hurdles faced by hand-drawn animation due to a shortage of skilled personnel capable of meeting substantial production demands, making the efficiency offered by AI a critical consideration.

He believes that, akin to the situation with 3D CGI animation, the industry will strive to find a balance between AI and traditional methods. The acceptance of AI will likely depend on market preferences. Currently, it appears that most viewers of Japanese anime continue to hold a deep appreciation for the classic hand-drawn ‘key frame’ animation style.