00:00Sous-titrage Société Radio-Canada
00:30And it doesn't just woof out, it goes woof!
00:32And because of that the process we went through to develop the effects was to take a basic physical
00:36model, and have it emote the feeling of the shot rather than just what it would really
00:41look like in real life.
00:42In order to get this effect of this huge glacier crashing down on this poor little scrap, we
00:47took a whole bunch of different little elements, combined them together into one big, scary
00:51mush.
00:52We had to take the bow wave of the glacier moving through the snow, we took the dust,
00:57we took the chunks of rock falling all around.
00:59En order to do that, we do it in a series of layers, a series of passes,
01:03that allows us to isolate each element and deal with it on its own
01:06so that we're not dealing with the weight of the entire system.
01:09What was interesting about Ice Age was that we had so many different kinds of creatures to rig,
01:14that moved in so many different kinds of ways.
01:16Each character was a rigging challenge.
01:18Rigging is like creating a marionette or a stop-motion armature.
01:22Anything an animator might want to move, rigging has to prepare for that.
01:26It has to create some sort of control, some sort of handle that you can grab
01:30and then cause the leg to twist, the arm to bend, the face to move.
01:34We take the final geometry from the modelers, we create a skeleton within Maya,
01:39and we use this skeleton to deform the character.
01:42There are hundreds, perhaps even over a thousand, perhaps different things
01:46that an animator could possibly animate in the character rig.
01:49What we did to deform the characters was bind the geometry to the skeleton that we created.
01:55Geometry, of course, is made up of a series of points.
01:58We could bind the points of the lower arm to the lower arm skeleton.
02:01So when the lower arm skeleton rotates, those points are going to move with the skeleton.
02:05What we experimented with were adding in cartoonish controls.
02:09For instance, when the Scrat is yanking at the acorn, his arms are actually scaling.
02:13They're increasing in length. The bones are actually scaling out.
02:16We would add special sort of deformation controls and make the eyeballs scalable.
02:21Just to sort of emphasize the drama of the action or the pose.
02:25There are no bones in the mouse in the universe.
02:27Where are the other pieces of pena in order to force the skeleton?
02:28For instance, we hit theühre.
02:29We made the last a star...
02:30Aaaaaaaah!
02:32Aaaaaaaaaah!
02:33Aaaaaaaah!
02:35Aaaaaaaah!
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