given the current climate this pride especially i feel i must mention that i love my trans friends, i stand with trans people in the fight against transphobic legislation and those who would enforce it, and this blog is not a good place for you to be if you do not vibe with that
"Everybody knows that everybody dies, and nobody knows it like the Doctor. But I do think that all the skies of all the worlds might just turn dark, if he ever, for one moment, accepts it."
Silence in the Library/Forest of the dead is probably my favorite DW story 😭❤️
"Making Mr Ring a Ding" notes
Thank you so much to Elpida Kyriakou and Standish Millenas for hosting. This was a very informative webinar!
I'm going to keep all my notes under the cut because it is a LONG list, but I look forward to seeing what my mutuals will be posting too (shout out to @aangussca for staying up super late to get notes and @artscheese for getting some great screenshots!), I can't wait to compare notes! Get ready for a whole lot of trivia!
Some backstory - Framestore started off working on music videos before going on to create effects and animation for multiple productions. As we're focusing on character work here, I'll highlight their work on Rocket Raccoon, Baby Groot, Winnie the Pooh, Paddington and, my personal favourite, the Wild Things in "Where the Wild Things Are."
Elpida specifically works on modelling, texturing and lookdev (seeing how everything reacts in-scene). Notable credits include Tom and Jerry, Sandman and Cowboy Bebop (live action).
Elpida worked very closely with Ian Spendloff, director of character design, when working on Lux's 3D look, which made the transition a lot easier (still not easy due to the translation between styles, but good communication goes a long way).
Ian also painted over the 3D model to see if it translated well.
When concept art began, the main information given for Lux was blue skin, a piggy nose and "we don't know what he is."
The only parts decided prior to production was a general design and his height, specifically for eyeline and so the actors had an idea of what kind of creature they would be responding to.
Animation was done in London by both in-house animators and legends of the craft (Neil Boyle was named specifically, but also shout out to Tim Watts, Michael Schlingmann, David Lochhead, Julien Van Wallendael, Carlos De Faria and Dani Tomlinson).
The team went through many different concepts (including a less rounded look, a moustache and even a cow nose at one point)
Lux's antennae were originally strands of hair on his balding head.
Inspirations listed for the 2D look (stage 1) were Betty Boop and Popeye due to being somewhat unsettling and having good ink work.
Unsurprisingly, the smile was a HUGE part of the design, to the point that it was a big focus when modelling his 3D look in stages 2 and 3 too.
"His eyes need to look like he's always having an episode."
References for the cuter 3D stage we see for a shot (stage 2) were Pixar and even stop motion to an extent.
There was lots of insistence to keep him cute and round here, no visible creases on the face or pinching of the lips. A lot of the essence of his 2D construction is still there with how his mouth moves to keep it appealing.
Elpida often thought how it would feel to hug Lux to see if that was a good indicator that he still looked cosy.
Turntables showing how the model looked from all angles under different lighting helped to highlight any potential changes needed, and even then some were spotted later into animation.
Colour codes were used in the storyboards to show what stage of rendering was to be used at each point.
The aim for the realistic look (stage 3) was to push the realism to the point of scaring children, but not too gory (Elpida did say if the show had been 18+, she would have pushed a little more as it's always fun to do that with a design).
Main references were modern Spongebob, as well as photos of rotten teeth and skin damage (also horse teeth specifically).
"He needs to look like a man who hasn't slept, lives in his mother's basement and has never seen the sun."
Ironically, he does have a lot of sun damage in this form, as well as smoker-lines and a big ol' vein at the side.
So much dandruff, spider-leg ear hair, translucent skin, hairy antennae.
Thanks to one question somebody posed in the Q&A, I now know that they rendered his entire mouth. Props for dedication.
His shirt is also stained with an unknown substance EXCUSE ME?!
ET was used as a reference for his neck.
Made to look more boxy to highlight the difference from his bean body in stage 1.
His suit is specifically made to look like the velvet from the theatre curtains, old and dusty. His hat also no longer floats.
I just wrote the word "MOIST" at one point and I know that wasn't a direct quote but boy did they try to make this blue gremlin look vile and wet!
King Charles' hands were the primary reference for Lux's bloated, gross fingers and that is incredibly funny to me.
There is a fully rendered Lux out there with complete anatomy and this fact will haunt/amuse me for the rest of time.
The crew were all listed under the Framestore umbrella in the credits as so many people worked on the show. This sadly means they were not individually credited and I hope I've done my part in sharing the names of those I know of.
There is no confirmed plans for Lux to return, but the team are more than open to the idea (it's just not their call).
Sunshine Sally sadly did not have a larger role planned (that they knew of).
They know about all of the fanart ("Into the Inkwell" mention in the Q&A, very cool) and are amazed by just how much love the character has received (I know the 2D team were engaged with the fan reception, but it's nice to see that extend to more of the crew). They are also thrilled by the concept of the dingles. They know about us, guys! BE AFRAID!
Hey Dingalings, the full webinar is now available for free on YouTube
Now you can hear everything I wrote straight from the source (although the trivia from the Q&A is absent, so I'm glad I wrote notes from that)
Enjoy, dingles!
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