By Jerry Beck | Animation Scoop January 23, 2014 at 10:00PM
An exclusive look at the incredibly cool multimedia animated end titles from Sony's Cloudy With A Chance Of Meatballs 2, which will be released on DVD and blu-ray next Tuesday.
I spoke with End Credits Production Manager Kevin Noel and Screen Novelties Animation Supervisor Seamus Walsh.
When, during the production of the feature, do you start brainstorming the end credits sequence?
Kevin Noel: I can't speak for other productions, but for us, we knew we had a chance to enhance the storytelling - and we wanted it to be in everybody's minds right away. The movie had to be finished by August, so we began thinking about it in January. We started the meetings and storyboarding with directors Cody Cameron and Kris Pearn, character designer Craig Kellman and the story team. When we started to compile enough funny ideas, Cody and Kris gave it to Craig and visual development artist Pete Oswald, saying "Do your magic with this stuff".
They started boarding the end titles in March or April. We refer to it as the "Coda" as it tells what happens after the main story told in the film.
We were already working on the film before the end song was decided (which turned out to be La Da Dee, performed by Cody Simpson) - thankfully it fits in perfectly. When we were able to do some mixed media pieces we reached out to Seamus and his crew at Screen Novelties back in April.
Seamus Walsh: I remember they were about 2/3rd of the way into the production of the feature when we were called in. We couldn't get Craig and Pete to think about the end credits at that point because they were still involved with main feature.
Kevin Noel: Craig and Pete had so many art influences they wanted to throw in here - a "smorgasbord" (pun intended) of styles keeping it together. You'll note that not all the Flint's in the end credits are exactly the same - they go "off model" intentionally, each gag or segment has its own feel. And on top of that, they there's the different media that was used to reinforce this.
As different as the character designs are, I note the stop-motion models perfectly "on model".
Seamus Walsh: We used a lot of the 2D artwork for the backgrounds and wanted to seamlessly fit our puppets into this world. We had to keep the color palettes the same and even the same dry-bush techniques so it felt less "composited". At the end of the day, its all composited layers of green screen and you want it to blend in as much as possible.
We are interpreting Craig and Pete's designs into three dimensions - they provided us with reference art and we matched it as perfectly as we could. That's part of the fun in a project like this. Instead of going to a hobby shop and buying some miniature tires - we carve these asymmetrical cool UPA-esque interpretations of a tire that is more visually interesting. It's not the easiest way to do it - but it’s the coolest way to do it.
Cool - it is indeed!