I was excited to get these shots because they involved an emotional moment. As an animator, this is always one of the more challenging tasks because you really need to choose the right acting otherwise the audience will instantly be taken out of the moment you're trying to sell.
The first shot with the Nicelander was a tough shot. I had to go back and forth with the supervisors and director several times to get the right acting in there. It was tough to get the right silhouette to read and also to get that key to read clearly. The reach into the pocket was also tough to figure out. There were several other versions but what we finally settled with turned out really well. The tricky part of this shot is nailing the 8 bit style of animation that is required and at the same time, making sure it has emotional impact. Could it be done with that sort of style? I'm sure people wondered that before animation started but obviously, the stylized animation went over well. There was tons of research done to make this style work. Wayne Unten was our resident 8bit expert. I worked with him on the 8bit sequences in the film when Wreck It Ralph and Fix It Felix were playing in the game. It was an 8bit crash course to say the least haha. I learned a lot about the style with that experience and I think it helped me get this shot through. I also did a little work on the end credits, which was supervised by Clay Kaytis. Lots of 8bit animation!
The second shot was an awesome opportunity to tackle an emotional moment with Ralph even though it was a shorter shot. Sometimes the shorter shots are the tricky ones. I went through several different ideas and with the help of the supervisors ended up with something that worked. That pose where he catches the key took a bit of work to dig up. Originally he caught it a little lower on screen but supervisor Zach Parrish had a specific vision for this shot. We rotated the shoulder way up. A lot further than I thought it could go to be honest. and also brought Ralph's hand up too. It was a great learning experience to see just how much you can push a pose in CG. You don't need to be limited by the rig. I like how it ended up. It's cool to see the shot go from your desk and through the lighting department and simulation. It takes on a life of it's own.