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From 2D to 3D - Peanuts & Horton

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How do you take a 2D property and translate it into 3D whilst staying on model? Our very own Haley Kannall shared the following awesome tips with me that I wanted to share with  you. How did they translate these Peanuts characters & environments...


to these...?

1. @haleysays if you want to keep things CARTOONY use the squint test. If you can see the surface texture while squinting then it's too much. 
2. Stick to the original character angles: left, right, up, down, and a 3/4 frontal view. 
3. Animate on Two's.
4. Keep the lighting SIMPLE.
5. Use the same style & shape languages that the 2D uses. (see below)

"Horton Hears a Who"


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I thought they did such a great job on Peanuts.

I think character silhouette also SUPER important when converting 2D characters to 3D.

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We thought about this a lot in Peabody and Sherman. I would have loved to stay as flat and 2d in our 3d transition as possible, but the studio wanted to push things more 3d. I think we did as well as we could with the transition... but was always really impressed with what BlueSky did with Peanuts.  

We did a lot of analysis of the drawings and poses that made peabody work - but one of the challenges we had was that he and sherman were drawn differently in almost every short!  

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So we tried to come up with some rules that made sense.. for example, 3d peabody never faced straight on, he was always at least a little 3/4.. and we always tried to keep a clean silhouette of his hair tufts (front and back) no matter which direction he was facing. Bryce McGovern (animation supervisor) made a lot of drawings and instructions for the animators on how to keep Peabody on model, in cluding eye shapes, eyebrow position, head angle/bends, mouth shapes, etc.  It was incredibly helpful, and even though we weren't going as flat/2d as the original, I think we did a pretty good job keeping him appealing!


Here's a picture of me from a press day demo where I was dressed as leonardo davinci (obviously) demonstrating sherman's multiple legs in this early performance test.

Notice the smear frames, the crazy third limb, and my wackadoo beard. 

Image result for jason schleifer peabody and sherman

And here's a short piece from a talk I did about Peabody and Sherman in Melbourne to a few hundred of my closest friends:


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That is a great talk. I was always a fan of just actually adding those extra parts, it stretching an element. Hell, I replaced one of my boxer's arms with a torus during one or two frames of his punch arc in my student film.

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I've been looking at a few other examples as well!

Wile E. Coyote and Roadrunner


Mickey Mouse (Get a Horse)


Get a Horse is a wonderful example because the film is 2D and 3D. You get to see the characters transition and it's done extremely gracefully!

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