It was an intentional decision from the get-go and everybody, from creative leadership on down to the artists, had to go through this learning process of really understanding that, and adjusting to this new style. “We really wanted to distill down the essence of what he was trying to go for, and make sure we were getting more caricature, this simplified elegance of silhouettes in our splashes and in the shape of water itself. “If we could draw a picture of water with 50 lines, Enrico would want us to draw it with three,” Reisch continues. On Luca, we really wanted our effects elements not just to integrate into the stylized world, and the plausible, but to truly enhance the world with their visual language, ultimately supporting the storytelling of the film.” Not just the artistry of Miyazaki and Studio Ghibli, certainly, but also these Japanese woodblock paintings with their suggested details and simplified forms and shapes they have very clear silhouettes and sinuous reflections that we wanted to capture in the look of our stylized water. There were a few key touchstones we kept coming back to.
“And that elegance was inspired by leaning into our 2D influences as well as delivering on all that visual richness we expect from ourselves at Pixar. “Early on in the process, it was really clear that Enrico had this vision of a beautiful, simplified elegance for the film,” Rausch explains. But the biggest area of effects on the film was water, and the biggest challenge was designing water effects where photorealism was not the goal. On Luca, that meant the sea that the story takes place in and around, all the waves and splashes, as well as fire smoke, rain, dust, and debris, even the pasta Luca and Alberto eat at a dinner with Giulia and her father Massimo, who live in the town of Portorosso where much of the film takes place. On an animated film, the effects team is primarily responsible for all the natural phenomenon you see. And I'm super proud of my team for delivering it, doing all this work from home from the first shot to the last.” “Typically, 30-40% of the shots on any given Pixar film are effects shot, but with all the water on this film, taking place on the Mediterranean Sea, we were closer to 60-70% of the shots in the film,” he notes. All told, there are more than 800 effects shots on the film. Part of the challenge for him and the effects team was embracing the hand-crafted, more 2D-inspired feel of the film and supporting that aesthetic and storytelling with each of their effects elements. He also provided daily artistic and technical direction for his team throughout the course of shot production.
Reisch joined Pixar in 2004 during the production of Cars in addition to effects development, shot, and supervising work on a host of studio films, he led effects on Domee Shi’s Oscar-winning short, Bao, before joining Luca early in development.Īs effects supervisor, Reisch worked closely with Casarosa, Strijleva, and director of photography for lighting Kim White to help craft the visual language of the film’s effects. It’s very expressive and lyrical.”Ī key member of the film’s core creative leadership is Luca’s effects supervisor, Jon Reisch. With that in mind, we were challenged with simplifying the look of a 3D film, which was super fun to do-hitting a certain level of caricature that’s true to Enrico’s style. According to production designer Daniela Strijleva, “Enrico would draw these simple, sinuous shapes of reflections in the water that looked like traditional woodblock prints. The look of the film is influenced by Japanese animation and artistry, specifically Japanese woodblocks. And our story takes you to a place that’s fantastic, but also inspired by where I grew up.” “We try to bring some of that warmth and imperfection to the computer animation. “The artist’s hand is something I think a lot about,” says Casarosa.
To capture the viewpoint of a 13-year-old boy and the carefree idea of summertime in an idyllic Italian seaside setting, the director envisioned a truly nostalgic era with a stunning painterly style. But all the fun is threatened by a deeply-held secret: they are both sea monsters from another world just below the water’s surface. Premiering June 18 on Disney+, Disney and Pixar’s Luca, according to director Enrico Casarosa, is “about the friendships that change us, a love letter to the summers of our youth - those formative years when you’re finding yourself.” Set in a beautiful seaside town on the Italian Riviera, the film tells the story of Luca, a young Italian boy who along with his newfound best friend, Alberto, experiences an unforgettable summer filled with gelato, pasta, and endless scooter rides.
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