I’m all about recycling on this VFX blog, so check out the ‘UP’ coverage over at Animation World Magazine! You’ll be doing me a favor, because I’m just too damn lazy to write much more.

Hopefully I’ll get a chance to write more after I actually see the movie! Maybe this weekend? Who knows, but I think ‘The Hangover’ might win out in the end.

LINK: Pixar Goes 3-D

We wanted to really understand this new tool before we integrated it. We did a lot of tests with WALL•E material, Ratatouille material; working on the Toy Story re-releases. We started with Up as soon as images were available. With that variety of imagery, we started pushing the limits of what’s comfortable and what’s not in all aspects, including cutting from shot to shot, continuity, far away in z-space forcing your eyes to go more wall eyed, vs. objects coming out into the audience in z- space, forcing you to become more cross-eyed. We had a core group of people on this: John Lasseter, Pete Docter, [Up Producer] Jonas Rivera and [Up Layout Supervisor] Patrick Lin. We looked at all this material and viewed the latest films in 3-D and put it all into the overall Pixar aesthetic.

LINK: Going Up with ‘Simplexity’

“What it means is: we wanted everything on first read to have very simple shapes: squares, circles, etc.,” Docter explains. In other words, Carl is shaped like a box, which represents the past, while Ellie and Russell, the young, enthusiastic Wilderness Explorer and sidekick, are very round, denoting the future.