{"id":7615,"date":"2020-02-12T19:59:57","date_gmt":"2020-02-13T00:59:57","guid":{"rendered":"https:\/\/pixarplanet.com\/blog\/?p=7615"},"modified":"2020-02-12T19:59:57","modified_gmt":"2020-02-13T00:59:57","slug":"calm-and-chaos-in-fantasy-suburbia","status":"publish","type":"post","link":"https:\/\/pixarplanet.com\/blog\/calm-and-chaos-in-fantasy-suburbia\/","title":{"rendered":"Calm and Chaos in Fantasy Suburbia"},"content":{"rendered":"

The creation of <\/span>Onward<\/span><\/i>\u2019s suburban fantasy world was a lot more deliberate than you might expect. Of course Pixar films are always the result of years\u2019 worth of research and minute attention to detail, but it all looks so effortless. How hard could it be to populate ordinary neighborhoods with centaurs and trolls? Actually it was quite challenging, building a world both old and new at the same time. Here\u2019s a rundown of how the crew in art, layout, editing, and lighting rose to the challenge.<\/span>
\nArt – Noah Klocek, production designer\u00a0<\/b>
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visual development art by Chris Sasaki<\/p><\/div>
\nOne of the challenges with <\/span>Onward<\/span><\/i> was making fantasy creatures in a modern setting acceptable to an audience. This was achieved by making the world\u2019s familiar elements much greater than the fantastical ones. Percentage wise, it was 70% familiar, 30% fantasy. The juxtaposition of those two elements were also represented by two more key concepts: chaos and order. And those concepts were further embodied by our main characters, Ian and Barley.\u00a0<\/span>
\nThe suburb itself was inspired by the Midwest, specifically where Dan Scanlon grew up. The array of fantasy creatures and elements were made to resemble what Dan called a \u201csticker book\/trapper keeper fantasy.\u201d The film\u2019s brightly colored posters definitely pay homage to that aesthetic. And the film overall is meant to appeal to fantasy lovers and non lovers alike.\u00a0<\/span>
\nLayout – Adam Habib\u00a0<\/b>
\nTechnical aspects were also employed to reinforce the film\u2019s blend of chaos and order. Two types of camera styles were assigned to the Lightfoot brothers: a normal one for Ian that was closer to a human perspective with a restrained movement; and a mix of wide and long lenses for Barley that felt more unpredictable. Because magic is also unpredictable, it\u2019s difficult for the camera to keep up with it. This is similar to how Ian reacts to magic, and by extension, the audience.\u00a0<\/span>
\n

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PROGRESSION IMAGE 3 of 6: CAMERA AND STAGING \u2013 The Camera and Staging team (sometimes known by its traditional name, Layout) uses the principles of cinematography and film language to translate each moment from the hand-drawn storyboards into the three-dimensional cinematic shots that make up the finished film. This team determines the composition of each frame, as well as the choreography of camera and character movement (known as Staging) within the virtual sets. They work closely with the Director and the Editorial teams to determine the right timing and sequence of shots to best communicate the story. \u00a9 2019 Disney\/Pixar. All Rights Reserved.<\/p><\/div>
\nNot all of the magic in <\/span>Onward<\/span><\/i> is chaotic however. Wizard magic belongs in this category, with its dynamic and graceful camera movements. That\u2019s what Barley idolizes and what Ian tries to master.<\/span>
\nEditing – Catherine Apple<\/b>
\nThe editing department spends the most time on the film, anywhere from three to five years. With <\/span>Onward<\/span><\/i>, it was four years. The first step in the process involves the storyboards. They are broken down into sequences with temporary dialogue. In the early stages before the principal cast was announced or involved, Dan Scanlon voiced Ian.<\/span>
\n

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ONWARD – Storyboards by Kristen Lester and Le Tang. \u00a9 2019 Disney\/Pixar. All Rights Reserved.<\/p><\/div>
\nAfter the storyboard sequences, sound effects are added. The effects are so integral to the editing process and they all have to be created. Examples include ambient sounds, dogs barking, and a car engine. A vast sound effects library at Pixar certainly helps! Since Guinevere the van is Barley\u2019s mighty \u201csteed,\u201d the car engine roars to life with a horse\u2019s whinny. Then a temporary score is added along with the sound effects to scenes with dialogue. Sound effects also reflect chaos and order: controlled sounds and dialogue for Ian, while Barley\u2019s dialogue is often very fast and overlapping with other sounds. He also got the louder sound effects.\u00a0<\/span>
\nLighting – Jonathan Pytko, lighting supervisor\u00a0<\/b>
\nAs expected of Pixar films, the lighting is one of the most compelling visual elements. The goal here was to tell the story through light and color. The familiar part of <\/span>Onward <\/span><\/i>is made up of funny and heartfelt moments that are meant to evoke comfort and warmth. These scenes also help the audience grow accustomed to the world. The fantasy is much more mysterious, saturated with deeper colors, as in the scene where Ian and Barley use the conjuring spell.\u00a0<\/span>
\n

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PROGRESSION IMAGE 5 of 6: LIGHTING \u2013 The Lighting department helps to integrate all of the elements \u2013 characters, sets, effects, etc. \u2013 into a final, fully visually realized image. The Lighting process involves placing virtual light sources into the scene to illuminate the characters and the set. Technical artists place the lights to draw the audience’s eye to story points and to create a specific mood. The lit images are then rendered at high resolution. \u00a9 2019 Disney\/Pixar. All Rights Reserved.<\/p><\/div>
\nOnward<\/em>‘s visual language is very rich, and deeply informed by specificity. It’ll be a treat to watch the entire film next month and pay attention to all these details.<\/p>\n","protected":false},"excerpt":{"rendered":"

The creation of Onward\u2019s suburban fantasy world was a lot more deliberate than you might expect. Of course Pixar films are always the result of years\u2019 worth of research and minute attention to detail, but it all looks so effortless. How hard could it be to populate ordinary neighborhoods with centaurs and trolls? Actually it …<\/p>\n<\/div>","protected":false},"author":2,"featured_media":7621,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[346,388],"tags":[],"yoast_head":"\nCalm and Chaos in Fantasy Suburbia - Upcoming Pixar<\/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:\/\/pixarplanet.com\/blog\/calm-and-chaos-in-fantasy-suburbia\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Calm and Chaos in Fantasy Suburbia - Upcoming Pixar\" \/>\n<meta property=\"og:description\" content=\"The creation of Onward\u2019s suburban fantasy world was a lot more deliberate than you might expect. 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