None of us was really a rap expert but we knew we could easily fall into a cheesy/cliché aspect of it. The rap section was also a challenge as we didn’t have any reference footage for that. We used that as a first pass for our dancing shots and then added variations on the timing and the poses on each girl to enhance their personality and avoid having them look like clones. We didn’t have any specific technology or solution but we do have powerful rigs which allow us to transfer animation from one character to another. Finally, we animated each shot separately. Once we were all happy with it, we used that same rough animation to layout and edit the chorus part of the music video. We started with multiple dance footages provided by Riot and gathered them all in one rough animation we did of the entire choreography. There is no much mystery or wizardry here, only time, effort, dedication and talent from the animation team. Yes, everything is keyframe animation done by hand, no mocap was used. By the way, are all of the characters moving simultaneously on one rig, or did you make slight differences in each character’s movement? We then interpret these designs in CG with Bart always in the loop in order to make sure we’ll be able to animate the girls in a very dynamic way and give them some iconic posing.Ĩ0lv: We were amazed to learn that you did most of the animations by hand, I mean, this is insane! Could you walk us through your process: timing, interesting solutions, physics influencing the little details like hair and earrings. Bart adapts the design to something a bit more radical, closer to the references we had for the video. The character design is an evolutionary process: Riot provide us with their designs, we have the first pass of adaptation from Bart Maunoury, our animation director who’s also a great character designer. Character DesignĨ0lv: Could you tell us a little bit about the characters, their design, and what artistic methods you’ve used to give so much power to them in the shot?
#Fortiche production update
For music videos, we’re always starting edit very soon and update it regularly: it becomes the blueprint for production planning and helps brief the teams with intentions, timings etc. and then to fine-tune the rhythm of each shot as the previz was done. We also started really soon to work on the edit: first to breakdown main moments, chorus etc. Then we started previz and layout quite fast to start to work on staging within the on-going truck out camera. We drafted rough ideas with our storyboard supervisor, Simon Andriveau, to find the main intentions: environments for each girl, gestures, posing and “special moves”.
We also needed to find a way to depict each girl’s special move in a cool way that melts well with our staging and our style.Ĩ0lv: How did you approach planning? Did you do sketches of every shot and early blockouts with primitive animation? We’d really like to have a look at your working process. Based on these, we came up with the global idea of the video, something a bit radical like we like to do: an on-going truck out camera with some crazy ideas here and there like the blacklight moments in the subway. They also came with different references: classic K-pop music videos of course, but also more graphic material like Gorillaz videos for instance, which mixes cartoon characters with a realistic environment. Our main brief was to do a K-pop music video based on all the material they did. They’ve also produced the entire song internally. They wanted to make a special present for their fans in Korea so they’ve created specific K-pop skins for four of their most iconic champions.
80lv: K/DA is such a huge project! How did it all start? What were the main things that you wanted to do here? How did you decide to move on with the K-pop style and design?
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