“We used that as a starting point for the some of the characters where we could show places that we could go. “We have a library of that stuff which are unused directions,” he adds. Upwards of 200 to 300 designs can be done for a character in the MCU before settling on the final version. “The idea of doing ‘Skinny Steve’ in an animated form that felt like the Steve Rogers that you saw in the first Captain America film while we were also figuring out the style was challenging,” notes Meinerding. The fact that we were going for a slightly more realistic style in the proportions and how the characters emote, and there are strong ties to the MCU, meant that I had a lot of firm footing to move forward.” The live-action actors served as the basis for their animated personas. “It was a dream come true for me, the idea of being able to work on characters that I’ve loved for years through the comics into my time spent with the MCU and transitioning them into animation. Ryan Meinerding, Head of Visual Development at Marvel Studios, handled the character designs. Our character is lit from the right with a cool rim light on the other side.’” “Our color keys are frames of the movie, but very small with enough detail that we know that, ‘This is at night. “We’ll try to do at least one per scene because every one has a certain color palette and lighting style,” remarks Lasaine. The film language itself is extremely specific from episode to episode and from story to story that’s what we’re trying to nail in the storyboard process.” Extensive color keys were created for each episode. Because like the rest of the MCU, we’re visiting a whole variety of genres, tones and styles of movies. “We try to be specific with the way the characters move, fight, act, and the filmmaking of it. “That happened to me several times!” laughs Franck. Sometimes nothing will be back there or just a line for the horizon or a square for a door.” The animatics were such that one could get engrossed in the story. “The environments are more simplified in the storyboards. “In typical animation there are so many boards going by that you’ll see mouths moving while live action will have one or two per camera setup,” observes Lasaine. Great attention went into storyboards mostly for the poses of characters. Those will get turned into line drawings which then go to the background painting department.” “Our characters are in 3D, so we will build these low- poly proxy sets for most things. “We were originally going to try to do the whole thing in 2D, but for a number reasons it did not work,” reveals Lasaine. The combination of these three things helped us to come up with a presentation that felt new and exciting on the outside just as much as the stories were in the inside.” What If…? combines 2D and 3D animation. Leyendecker who have an elegant and broad- shaped language. The third element is the classic American illustrator vibe of people like J.C. All of our stories are born in the MCU when it comes to revisiting certain moments where life turned out a bit differently for a character. The comics have a special kind of magic in terms of their power, energy and excitement there’s something mad and unique about them. “The ability to create collectively a unified performance is one of the defining traits of animation. Placed in charge of overseeing the animation provided by Blue Spirit, Squeeze, Flying Bark Productions and Stellar Creative Lab was Animation Supervisor Stephan Franck ( The Smurfs: The Legend of Smurfy Hollow).
It’s a challenge and a fun little puzzle.” The background has to go slightly out of focus, otherwise we won’t be able to see the pod. How are we going to see all of those layers? We put a layer of atmosphere behind the pod to get the right silhouette. There’s the railing in the front, the pod, and the back wall with all of the computers. We’re going to break things into three layers. We needed to simplify things down because we wanted it to have an illustrative style that alone starts creating its own rules.
The rebirth lab set in Captain America: The First Avenger was lit differently from how we did it in Episode 101. We’re always trying to push stuff to get it to look cooler or more dynamic. We’ll put atmosphere behind a character, make them darker and put a rim light on them. We’re constantly making sure that a character or object or environment is placed where you can see it. “What we are trying to do differently from the live action is to play up the concepts of silhouettes. “There is a responsibility to pay tribute to the movies, which is cool and hard,” states Lasaine.
Collaborating on the world-building with Bradley and director Bryan Andrews was Production Designer Paul Lasaine ( The Boxtrolls).
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