this is London one of the key areas that we begin with this week all previous
it's pre-visualization it's working in an extremely low phi fashion to be able
to very quickly explore camera angles moves using working with animators who
have a familiarity with Paddington himself filming without Paddington it's
makes the process extremely abstract that's for sure and so we employ a
variety of techniques there's four the best part
standing called Lauren who is about Paddington's height and she would give
us everyone on the set of brilliant insight into Paddington's presence you
don't want to make the working post very difficult or expensive by having to
paint lots out so you try and minimise what's in the place of Paddington on the
shot that you will finally use I think the things that are most difficult or
where Paddington is interacting with objects that or people on in the plate
so you always need somebody to do that to create either the sort of you know
touch the cloth but it's going to be touched as a statistic that if you put
all the the man-hours together it would be 75 years of someone's life to do all
the visual effects on Paddington so that sort of gives you a bit of perspective
on how much works involved fundamental was that he lives in that you would
believe him he had to be hyper realistic he had to live in the real space but you
know we were always very careful not to reveal too much whites of the eyes to
have eyes that sort of look too cartoony to contain all the gestures you know
it's very again often an animator of first pickup Paddington they'll go for
very kind of obvious statements and Paddington are about like I will take it
all away it's all in what's absolutely necessary and what you know it's a sort
of small shift of the Browse here and a dark there that tells you he's
thinking and I think you know once you get into that zone or from the small and
you can start sort of engineering these sort of carefully placing all of these
these little beats that's one you know starts to feel genuine and he and live
and breathe as a real character and something that you can you know
hopefully fall in love with the Train chase of a sea is a particular set piece
was just in ordinarily complicated but even within the prison you know that the
ceilings have been extended in the the atrium there's a huge amount of sex set
extensions and you know when we're lifting off in the balloon and he's
escaping with knuckles the entire prison exterior is a fabrication that's CGI and
there's Paddington escaping through the clockwork you know of that prison to
give us I think a lot of people I wonder whether they'll spot that Charlie
Chaplin homage there but as he goes through the COG work and comes out the
other end with a little black moustache in homage to so the the master himself
simple little scenes like that the one where he travels through the the prison
and it's transforming and you're seeing the transfer his effect on the place and
everyone's making cake so I mean that was an acidly complicated sequence
because of that sort of very artisan sort of way in which we wanted to make
this prison transform and that's what michelle gondry like i sort of stopped
notionally appearance of musical sort of effects of all of the things it took
many many a lot of planning many many passes on motion control that couldn't
forward an exploration of what would work sort of bring things on and off
almost infinite possibility there you know that needed we needed to play
through but know this there's a there's a lot of augmentation all the way
through the film I think probably almost every shot you could point at something
and go okay well that's that photographs been inserted in that frame
sky has been changed there or that that bridge didn't exist you know and you
know there's a lot of that stuff but all very understated a number