Jul 17
You're so right, Temu. She should be taller than me, whether she wants to or not.
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You're so right, Temu. She should be taller than me, whether she wants to or not.
@smash-or-pass2
Left or Right?
Left
Right
Some headshots of what I'd think the Mitchells would look like a few years into the future, with a few OCs scrambled in.
As this is for a project, these likely won't be the final designs for them, but I'm actually quite liking some of the designs.
I'm blown away, y'all.
Movies like this NEVER get greenlit. Studios are supposed to be pussies that are too afraid to make wholly original animated films that don’t piggyback on an existing IP or be an irreverent kid’s comedy.
The Mitchells vs. The Machines is a love letter to the animation medium itself. A passion project created BY artists FOR artists. Katie’s struggles as an 18-year-old aspiring creative was the call-out post of a lifetime. And when I saw those end credits that featured the crew's family pics, I was touched beyond belief ‘cause that’s how you know this film wants its artists to be SEEN.
Masterful.
thank you for the robots Mitchells Vs Machines
by Lindsey Olivares (@lindseydraws on twitter)
Here are 8 color keys I did for a sequence in the Mitchell’s vs the Machines. i don’t think I’ve posted these before. This is from near the end of the movie, you might remember the “dog, pig, loaf of bread” moment. In most cases, color keys are done over un-textured final layout models. Assignments like this come at the end of the visdev schedule in a production. The color is based on a color script, which in our case was done by color wizard Dave Bleich . Depending on the production, it’s usually not important for the characters/specific objects to be fully rendered out in a color key, since mostly what you are trying to communicate is the color and value of a scene which is then matched in the lighting phase by the CG team.
Monchi in The Mitchells vs the Machines (2021) | part 1