Alberto Mielgo’s ‘The Witness’ from ‘Love, Death & Robots’. Art. Usually in 3D you actually light characters inside of a 3D set. Alberto Mielgo, director and writer of THE WITNESS, was also the original Art Director for Into the Spiderverse. After seeing a brutal murder, a woman flees from the killer through the streets of a surreal city. I cannot be more proud of this little film: Best Animated Short , Best Art Direction, Best Animation. Episode #3 of LOVE DEATH + ROBOTS is titled "The Witness" - featuring 12 excitable minutes of intensely hyper sexuality and sexual suggestions, a heavy swath of S&M, and a Twilight-Zone-esque story, as written and directed by Alberto Mielgo , based on Mielgo's original story, featuring animation production by Pinkman.TV. Article from characterdesign.mysineklik.com. We don’t need to explain more, just watch it now. And what we had was a flat painting, instead of being inside a 3D set. LOVE DEATH + ROBOTS | Inside the Animation: The Witness | … this is beautifully done.thanks for sharing your experience Alberto. He talks about MV, but not of the renderer but it smell like Octane, […] animator Alberto Mielgo’s aesthetic of “realistic but graphic” keyframe animation is unfortunately utilized to create hyper-sexualized neo-Oriental imagery. Explore. "The Witness" Alberto Mielgo: Written by: Alberto Mielgo: N/A: Pinkman.TV: March … Alberto Mielgo. Alberto Mielgo (@albertomielgo) posted on Instagram • May 29, 2019 at 5:01pm UTC March 2020 18.2k Likes, 104 Comments - Alberto Mielgo (@albertomielgo) on Instagram: “The Witness. b&a: What was the overall rendering approach, as well as final treatments that gave the film that graphic style? But because our characters are real, I think that people are having a problem really believing that this is not motion capture. They are almost alien-looking with weird proportions. And the simulations and the movement of the clothes, it was the most beautiful. And visually we wanted to have a mystery piece. Alberto Mielgo. u/ANiceOakTree. In this inspirational podcast, director Alberto Mielgo breaks down the making of the project. Alberto Mielgo, director of The Witness reiterates on Instagram that everything in it is keyframe animated. Begin typing your search above and press return to search. With a background in both VFX and Design, Chris has worked for Gensler, Digital Domain, Imageworks and Method Studios. [Read more] Within it he discusses how how his main reference is not […], Impressive ! From Wikitia Alberto Mielgo (born 29 April, 1979) is a Spanish director, artist and animator. So, animation at Disney and Pixar is keyframe animation, as well, of course. Updated: 29 Mar 2019, 10:00 AM IST Uday Bhatia. Alberto Mielgo’s vision of an alternate future Hong Kong came from the way the city crams eras on top of one another, with the future bolted precariously onto the past. It is written and directed by Alberto Mielgo with animation by Pinkman.TV . Street Art. Home; … Saved from … Clients. Archived. But when you see these Pixar or Disney animations, they are extremely real, and they really transmit incredible feelings, because their acting is fantastic, right? Alberto Mielgo: I think lighting has a really major role in this. That was very much what I pitched to them. Netflix – Alberto Mielgo. After seeing a brutal murder, a woman flees from the killer through the streets of a surreal city. In Pixar films they tend to render absolutely everything, but there are a lot of things that are not actually needed. I think that with The Witness we achieved that level of animation. Get exclusive content, join the befores & afters Patreon community. A Quick Tutorial on Digital Painting and Spatial Frequencies, Here’s how you can learn Python, online, right now, Animation – Reference and Planning | Lorna McFall, “Love, Death & Robots” Combines Sexual Racism with Hyperviolence – Kulture Media, ‘Outside the Wire’: check out this VFX breakdown video, Watch this ‘Greyhound’ VFX breakdown video, Go even more behind the scenes of this ‘Stranger Things’ monster, This indie film with more than 500 VFX shots took more than 5 years to make. His accolades include four Emmy Awards and two Annie Awards. b&a: How would describe the style of The Witness? I looked at an interview as well from the director Alberto Mielgo. It wasn’t real, but Marvelous Designer is actually very real. 28.7k Likes, 358 Comments - Alberto Mielgo (@albertomielgo) on Instagram: “The Witness. You’ll find out Alberto’s influences, from Tintin to Disney to Blade Runner and the films of Éric Rohmer. Alberto Mielgo, director and writer for Love Death & Robots’ Emmy-nominated animated short film “The Witness” is teaming up with Stampede to produce a new animated feature film.Not a lot is known about the film right now, but will reportedly be of Mielgo’s full vision. Among the many pleasures of Love, Death & Robots, “The Witness” was a particular standout: Its mind-bending story and vivid art style combined to create a unique and challenging short film. I never try to copy any existing animation style. He also claims the woman is not named Zawora and doesn’t know where that came from. Alberto Mielgo: I was approached by [supervising director] Gabriele Pennacchioli. Press Esc to cancel. Love, Death & Robots: The Witness Directed by. Alberto Mielgo: That’s correct. We needed to make a lot of tweaks. And there’s bounce lights coming from the set that they actually bounce off the character. Synopsis. Alberto Mielgo (aka Pinkman), who recently directed the spectacular "Witness" episode of Love, Sex, and Robots on Netflix, burst onto the Stash radar back in 2010 with three short films and ended up on the cover of Stash 66. I couldn’t say this is anime. He also talks about blending simple 2D and advanced cloth techniques to achieve “The Witness’” distinctive look, the inspiration behind its story — and his ambition to make animated movies that are regarded in the same light as live-action features. Art. The dynamics that these guys were creating in order to produce fashion – which is originally why they created the program, just for fashion – the dynamics that they were creating, they were amazing. It didn’t evolve at all from the original pitch. Alberto Mielgo, director of The Witness reiterates on Instagram that everything in it is keyframe animated. : Fallen Road. 9 months ago. Jun 10, 2019 - Alberto Mielgo’s character designs for The Witness (Love Death and Robots on Netflix) 2019 The Witness follows a woman who witnesses a murder in the building across the street from her. Alberto Mielgo is known for his work on Love, Death & Robots (2019), Spider-Man: Into the Spider-Verse (2018) and TRON: Uprising (2012). There’s just something extra, something you’re doing. Street Art. I pitched them several scripts, and they liked them. 3d rotoscoping is still keyframing, just with a tighter reference, so…. Love Death & Robots was recently renewed for a second season by Netflix.Mielgo’s short, “The Witness”, sees a … So it looks very manual and very artistically done, just to achieve something that is realistic. So, you ask, ‘Why are they wearing these clothes?’ Or, ‘Why did they choose those clothes, in particular?’. Dec 25, 2020 - Alberto Mielgo’s character designs for The Witness (Love Death and Robots on Netflix) 2019. I like to sit close to the characters. I mean, I really like the movement and it feels very natural. Time to open up a bit our film. 2017. Apr 21, 2019 - Artist and Designer Alberto Mielgo has been sharing some of the early concepts, character designs, storyboards and animatics he created for Spider-Man: Into the Spider-Verse. Those ingredients were very much anything that is far away from mainstream animation, so it could include violence, it could include sex, it could include horror – anything that is not soft or family-friendly. La productora Pinkman.TV ha contado con los servicios de renderizado de Summus Render para su corto “The Witness” dirigido por Alberto Mielgo. Navigation de l’article. Born and raised in Spain, Alberto is currently established in Los Angeles, after having worked and lived in various countries of Asia and Europe. Every single department was driven by that rule – realistic but graphic. Reel; The Windshield Wiper - NEW; Gentrification - NEW; Philips; Kill your stress; Tavistock 516; House Matters; Pill; Triangle; Heroes; Pinkman; Tron Uprising; Cisco; Philips Making-of; paintings. There’s the image of […]. But in this case we didn’t have 3D sets, we had paintings. Alberto was initially hired by Sony to become the Production Designer/Art Director and was also contracted to direct “the animation test”. Alberto Mielgo, Art Department: Love, Death & Robots. PINKMANTV Is the Animation Studio by award winning director Alberto Mielgo. I wanted the camera and the lens to feel alive. GITHUB - BETTER TOGETHER Textures, shaders, rigging, character animation, … Examining “The Witness:” Director Alberto Mielgo on making one of “Love, Death & Robots’” most memorable episodes — and his dreams of animated Oscar success. Directed by Alberto Mielgo. DDB Paris collaborated with director Alberto Mielgo (best known as the original animator on Spider-Man: Into the Spider-Verse, and for his episode "The Witness" from Netflix's Love, Death and Robots animated series) to create a CGI assault on the senses that bristles with urban unrest and existential angst. Close. More Episodes; Top Podcasts In Technology See All. That would be a little bit bizarre. After seeing a brutal murder, a woman flees from the killer through the streets of a surreal city. So we needed to figure out a way of doing it. Derma rolls – what is … It’s difficult for them to process, because they don’t understand – ‘What is lacking here? Dec 25, 2020 - Alberto Mielgo’s character designs for The Witness (Love Death and Robots on Netflix) 2019. b&a: It isn’t just the gross movement of the characters, but it’s also their clothing. SPUTNIK 2 minutes of Creature animation. This is keyframe animation. CHARACTER DESIGN: For our characters I wanted to…” New and good animation short movies selected every day. ALBERTO MIELGO DIRECTOR, LD+R’S “THE WITNESS” E x am i ni ng “ T h e W i t ne s s : ” D i re c to r A l b e r to M i e l g o o n m ak i ng o ne o f “ L ove , D e at h & R o b ot s ’” m o s t m e m o rab l e e p i s o d e s — and h i s d re am s o f ani m at e d O s c ar s u c c e s s . This is something that I was saying to my painters, and we were basically trying to depict realism but in a graphic way. We needed to cheat. PLAY. CHARACTER DESIGN: For our characters I wanted to…” Can you give a name or description to your visuals? While in London, Alberto worked for Passion Pictures and with Pete Candeland as an Art Director on ‘The Beatles: Rock Band’ and Gorillaz projects. It did grow a little bit in terms of the style and basically the world itself. The problem is that the characters are not realistic in proportions. Animated Short Films.net - 2D animations, 3D or stop motion. And that’s something that I always follow when I do any art and this is what I was saying to the animators. And also the clothes define the personality of the character, right? Based in Madrid, PINKMANTV operates with both national and international Artists working remotely around the world. A QUIIT PLACE 1 minute of Creature animation. We needed to create a pipeline. The description of impressionism is very simple, that is, it’s whatever the eye can catch with just a glance. Alberto Mielgo: We are using Marvelous Designer. Thanks for sharing your thoughts Alberto Mielgo about the creativity of film.. Its one more great step towards the creation of animation films. Written, directed and designed by Alberto Mielgo and Produced by Leo Sanchez… alberto mielgo info; animation. 18.6k Likes, 105 Comments - Alberto Mielgo (@albertomielgo) on Instagram: “The Witness. They called me to see if I had some ideas or if I wanted to pitch something, with the ingredients that they were looking for. Background Illustrations. The Witness is the third episode in the Love, Death & Robots series. It’s something where people are writing to me like, ‘Hey, you have prove this!’ And it’s like, ‘No, I don’t have to prove anything.’ But I will do a bit of like a tiny making of, just to basically fuck up people’s minds a little bit more, in fact. Continue reading “SummuS … b&a: How did you come on board Love, Death & Robots? Terrible toons: ‘Love, Death & Robots’ 1 min read. So I was basically playing with that a lot. But is it in fact all keyframed? You know, if a character is passing very fast in front of the camera the exposure of the camera all of sudden changes, and then it gradually goes back to the original. Posted on 11 April, 2019 12 April, 2019 by admSAECM. 11. First I was doing the paintings, and then because it was overcast we needed to figure out, ‘Okay, how can we put this character in the street so that it actually looks as if it’s inside of the painting?’ Because the painting has realistic light, so we basically needed to match that. And I was thinking about how a camera thinks when it’s overexposing light or how a camera reacts when a character is passing. Rabbit Hole The New York Times All-In with Chamath, Jason, Sacks & Friedberg Jason Calacanis TED Radio Hour NPR … And it provides for a lot of realism because it really looks like a real camera, but it’s just playing with colors, playing with filters, sometimes just a mix of colors on top of the camera creates that effect. The Windshield Wiper is a very personal and particular vision on Love and relationships. Tag: Alberto Mielgo SummuS Render ofrece sus servicios de granja de render al corto “The Witness” de la serie “Love, Death + Robots” de Netflix. Was it motion captured? There is a lack of something.’ There is a lack of something that realism has, but it works the same as realism, because we are just using just the important stuff to make it work. Among the many pleasures of Love, Death & Robots, “The Witness” was a particular standout: Its mind-bending story and vivid art style combined to create a unique and challenging short film. We were trying with different programs, but I didn’t like the final result. Love, Death + Robots : The Witness. It’s not live-action and it’s not motion capture, so what is it? And Im so proud of this. United States, 2019. I Wrote, Designed and Directed : “THE WITNESS” an animated film part of the very new and successful Netflix Antology: LOVE DEATH AND ROBOTS, Created by Tim Miller and David Fincher. … Next Post Next Is It Love ? Disciplines. The answer, according to Mielgo, is no to both questions; The Witness instead relied on keyframing. Clothes in real life, they’re impossible to control, so I thought it was the perfect program. I think I just don’t find words to comment here. This is something that I always dreamed to do, I always wanted to do. The third episode of Netflix’s sci-fi anthology Love Death + Robots (2019), Alberto Mielgo‘s The Witness is stylistically similar to the previous year’s blockbuster hit Spider-Man: Into the Spider-Verse (2018), for which he was the art director, but, unfortunately, that is where the similarities end. It’s really to do like catwalk simulations, but it’s not really to do complex things like wearing a jacket or getting undressed, things like that. The Witness just won 4 Emmy Awards in the Outstanding Short Form Animated Program category. He also claims … Was it motion captured? It’s just things that I do without trying to fit anywhere. […] be looking heavily at this sequence when creating my male running to try and escape. Did this use live-action? And because I didn’t need the cloth to move in any specific way, I just wanted the cloth to feel natural. Animation, Fantasy, Short, TV Movie. We needed to do a lot of things in order for this cloth to work properly. The protagonist of the short looks a lot like his scrapped design for Peni Parker 709 Can you tell me about your approach to the clothing? befores & afters asked Mielgo about his process in making the film, how his team realized the very unique visuals, and what his take on the audience reaction has been. Previous Post Previous Spider-Man: Into the Spider-verse. I was basically giving the paintings to the lighters, and I was describing how I painted it, where the light source was coming from. A short film directed by the amazing Alberto Mielgo and produced by Netflix. SCOOB! Synopsis. Explore. The unique graphic-but-realistic style of the film, which follows the story of a woman witnessing a murder in the apartment across from her hotel, came also from the 2D painterly backgrounds, the use of Marvelous Designer for clothing simulations, and treatments given to just about every frame. Listen on Apple Podcasts. We needed to do things on camera that only work on camera, but if you move the camera slightly, it’s not working. Artists: Artists: Here the background painting we created for the short film The Witness, directed by the amazing Alberto Mielgo for Netflix's Love, Death + Robots. The spot's last line, "Reclaim your future," urges folks to … Now, Marvelous Designer is a program that is not really for a pipeline, for a studio pipeline, or for a long project pipeline. This episode as well features frontal … Oil Painting; Gouache; Digitalzz; Los Angeles SOLO show; commercial. Then afterwards – and I think that this is something that has also created this sort of scepticism in people, like, ‘How did they do this?’ – after the shot is fully composed and fully rendered, I was basically taking every shot, and I would play with the levels. When Netflix and Blur Studio released the Love Death & Robots animation anthology earlier this year, one of the films that received a significant amount of attention was The Witness, helmed by Spanish art director and director Alberto Mielgo. Incredible visuals in this short but I’ve gotta think Alberto is being a little ingenuous. You basically put in your lights, and then you put in your character, and everything reacts with those lights. Spiderman; Tron Uprising; Beatles Rockband; Cartoon Network; Harry Potter; … “Blade Runner 2049,” “Love, Death & Robots” and “Game of Thrones” designer talks about his career so far and puts a microscope to the DNA of “Jurassic Park.”, We chat with Tim Miller, co-founder of Blur, and Director of the upcoming feature film Deadpool, Tim Miller — Director, “Terminator: Dark Fate”, Mike Hill — Designer, Concept Artist and Film Analyst. With Emily O'Brien, Ben Sullivan, Matthew Yang King, Nolan North. As she sees the murder, the murderer inside sees her after being alerted to her presence. Time to open up a bit our film. But the final result was really cool. Posted by. Alberto currently directs animations, works as an Art Director and does his own projects and paintings. I think when people see The Witness they are a little bit tricked by the amount of impressionism or the amount of graphic realism. “Terminator: Dark Fate,” “Love, Death & Robots” and “Deadpool” director, Tim Miller, returns to CG Garage to offer a human perspective on the Hollywood machine. I’ve always liked the program, because I like fashion myself, and I really like characters wearing beautiful clothes. Chris is a CG industry veteran and Director of Chaos Group Labs. . When Netflix and Blur Studio released the Love Death & Robots animation anthology earlier this year, one of the films that received a significant amount of attention was The Witness, helmed by Spanish art director and director Alberto Mielgo. THE WITNESS Working closely with David Pate (Animation Director) and Alberto Mielgo (Director), Agora’s team provided 1 minute of character animation. And they ended up going with The Witness. And then of course for the shading of the clothes, which was done by our master surfacing artist, Zeno Pelgrims. In this inspirational podcast, director Alberto Mielgo breaks down the making of the project. His credits include Maleficent, Oblivion and Tron: Legacy. I couldn’t have a cartoon-like woman getting nude. Character Street Art .. b&a: One of the very first reactions that audiences seem to have had to The Witness is that they at first think that it’s live action with some sort of overlay or augmentation. The animation is really realistic, because they use themselves as reference. The Witness got 3 FUCKING EMMYs. For example, look at the exteriors. He was able to create very graphic but at the same time realistic shading for the clothes so that they actually look like really real but in a way they’re also impressionistic. Year. Dec 25, 2020 - Alberto Mielgo’s character designs for The Witness (Love Death and Robots on Netflix) 2019. Alberto Mielgo: For me, my main reference comes from cinema and paintings, not necessarily animation. My main rule when I do painting or when I do any kind of art is always impressionism. And all this is done manually. 70. He can also be heard regularly as the host of the CG Garage podcast which attracts 20,000 weekly listeners. Character Street Art. Be sur… 1 hr 3 min. No way there wasn’t some rotoscoping or mo-cap in the pipeline somewhere. And the characters are the same. When you see our paintings in The Witness they look very rich, but when you see them from up close, they’re actually extremely simplified. I couldn’t say that this is Disney or Pixar. Did this use live-action? The visuals are muddied by the frenetic action and screen time is voraciously … 3 minutes of character animation. Podcast, director Alberto Mielgo breaks down the making of the character, then... Everything, but it ’ s just something extra, something you ’ re doing painting, instead being! 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