So, even the characters that you can see. And we want to make it feel also believable for these characters to be in this world. We explored those aspects, non-real animation. He continues: “We were looking at the early-to the avant-garde animation like Oskar Fischinger. And music is one of the most abstract arts, right?”
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And also, from different explorations that we were doing in terms of how to portray music. “We got inspiration early on from the mid-century, the glamorous mid-century illustrations from music record covers and posters. “Everything is feeling like an illustration in motion,” says Zaragoza.
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What this means in Vivo the movie is switching the visual style from 3D to a 2D vintage look that recalls the heyday of jazz infused UPA Animation MGM cartoons. Retro graphic postcards of the 1950s inspired Vivo's art direction (Image credit: Sony Pictures Animation) It’s the Emerald City of our movie.” Crafting the musical sequences This is the final destination for our characters’ journey. Havana was old and welcoming, Miami is modern, harsh and exciting.ĭalit explains: “We’re pushing the graphic quality in our shapes and architecture here. The graphic quality remains, and when Vivo reaches Miami the team turn everything up to eleven with vibrant neon colours and angular, graphic architecture. While Havana is bright and colourful, painting in orange and pink muted pastel tones, Key West shifts to stark blue and green. The colour palette is used to convey emotions and give each setting, or stage, a unique feel too (find out more about using colour with our colour theory guide).
In the movie we can see how the details of Havana’s skyline fall away rapidly and become more graphic the further in the distance they go the brush stroke tool renders materials to look painterly.
Each location has its own personality and animation language (Image credit: Sony Pictures Animation)
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