The director would check the output from Nuke, and if approved, it would be on screen.” The final image creation and color correction was done keeping in mind that it will be shown in theaters. “In all of these 1054 shots,” Mamoru comments, “we used Nuke to composite each layer of materials exported from Maya, such as backgrounds, characters, shadows and effects, to create final shots.
Under the direction of Goro Miyazaki, 1054 shots were produced for the film. We caught up with Mamoru Takahashi, lead lighting and compositing artist and Yuichi Yamamoto, lead compositor for insight into the creative process behind Earwig and the Witch, and how Nuke supported the team as they dove into uncharted territory.īehind Earwig and the Witch was a team of six in-house artists-including Mamoru and Yuichi -covering look development, lighting and compositing, alongside external partner companies. Focusing on three main characters-a smart and clever 10-year-old girl Earwig, the witch Bella Yaga and Mandrake -this latest release from the studio deviates from the 2D animation style that marked its earlier titles, standing as Ghibli’s first feature-length 3D animated film.įoundry’s compositing tool Nuke is no stranger to the nuances of both 2D and 3D animation, and enjoyed extensive use on Earwig and the Witch to help create an unprecedented release for Studio Ghibli. New to Studio’s Ghibli catalog is Earwig and the Witch. Notable films and fan-favorites include Spirited Away, Howl’s Moving Castle and My Neighbour Totoro, whose titular character stands as the studio’s friendly mascot, making its logo all-the-more recognisable. Instantly recognisable, whimsical and endlessly endearing: just a few words to describe the animated creations brought to life by Tokyo-based Studio Ghibli.Įstablished about 35 years ago, the studio is distinguished for its traditional 2D animation of hand-drawn movement.
Studio Ghibli shed light on Nuke’s use as part of their first feature-length 3D animation
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