The entire project had to be executed within a tight timeframe with a large part of the schedule dedicated to creating the stereoscopic 3D version. Guillermo wanted the end titles to contrast the rest of the film it made sense to have something a bit more “subdued” after two hours of mayhem and destruction. Even in their various stages of completion, the production design and VFX looked spectacular. Initially, a couple of other creative directors and I went for a meeting with Guillermo and the film producers to screen parts of the film.
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We all knew that it was going to be a huge movie and were excited by the prospect of working directly with Guillermo. Word came in that we were being considered for the end title sequence for his upcoming summer release. ML: IF founder Peter Frankfurt has had a long working relationship with Guillermo del Toro which began with Blade II. It made sense to have something a bit more “subdued” after two hours of mayhem and destruction -Miguel Lee Creative Directorĭescribe how you first got involved with Pacific Rim and how that relationship began. Now, I work alongside Miguel as a staff artist, where I do a bit of everything motion graphics-related, from design to character animation to on-set supervision. After that, I headed west and I've been working at Imaginary Forces since. When that studio went under, I found a gig at a casino game development studio and then a gig shooting web documentaries.
![pacific rim movie logo pacific rim movie logo](http://www.impawards.com/2018/posters/pacific_rim_uprising_ver21_xlg.jpg)
I changed my major as quickly as possible, spent two years at an awful college, and then found a job doing direct-to-video character animation in Chicago. RS: I was studying to be a chemical engineer when I happened to take a 3D Studio DOS class on a lark, and the rest was history. Iʼve maintained a fairly hands-on approach with all the projects I work on. After freelancing at several other studios and running a shop for two years with my partner, I returned to IF in 2011 as a creative director. ML: I started at Imaginary Forces fresh out of school in 2006 as a freelance designer and animator and spent the next few years working there. Give us a little bit of background on yourselves, and your current positions and responsibilities at Imaginary Forces. I think it is one of my favorite things about !Ī discussion with Creative Director MIGUEL LEE and Lead Animator RYAN SUMMERS at Imaginary Forces. We art directed it over the course of a week – I said go brighter with this, go less with this, more reflectiveness on this – and in two weeks we had the sequence. One that was manga and then the one that you see in the film, which was like a beautiful, very sexy machine, black with very saturated colours.
![pacific rim movie logo pacific rim movie logo](http://www.impawards.com/2018/posters/pacific_rim_uprising_ver17_xlg.jpg)
We gave them our models – our robot models and our kaiju models – and they came back with five different types of sequence.
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Dwarfing jets, tanks, and helicopters alike, the Jaegers and Kaiju ( Pacific Rim’s skyscraper-sized mecha and monster combatants, respectively) battle it out one pose at a time, like enormous obsidian action figures in the hands of an unseen child. Robot jocks throw punches, colossal fists crack gargantuan jaws, cities crumble, kaiju roar, and the screen becomes a twirling tangle of machine and monstrosity.ĭirector Guillermo del Toro, on producing the sequence with Imaginary Forces: The unholy techno-organic offspring of Avengers and Dragon Tattoo, the sequence is a heart-pumping showpiece set to the sweet strings and screeching riffs of composer Ramin Djawadi and guitarist Tom Morello. For moviegoers who survive two hours of massive, nuclear-powered robots beating the living hell out of alien monsters from the bottom of the ocean, Imaginary Forces’ sleek and statuesque main-on-end titles for director Guillermo del Toro’s Pacific Rim are the calm after the creature-punchin’, bot-stompin’ storm.