"Bren Entertainment is an animation studio, of the Filmax group, based in Santiago de Compostela. Among other projects, they are the studio behind the animated Goomer, and 'El Cid, the Legend', you must see this. In addition, they are working in 'Pinocchio 3000', in CG, and 'Nocturna'.
Miquel A. Corominas Pla, after working in the design of music covers and magazines, and in the world of the publicity, working in commercials for companies like Garnier or Peugeot, is, at this moment, Technical Director in 'El Cid, the Legend' and FX Supervisor in Bren.
We have had the opportunity to speak with Miquel, on 'El Cid, the Legend', on the use of 3D in a 2D production of this size, the techniques used to generate the 3D, the planes of masses, its vision of the animation in Spain, the projects in development of Bren...
El Portal del 3D y la Animación - Bren has worked in 150 CG planes in the film 'El Cid, the Legend'. How many people have worked in those 150 planes? How were distributed the departments?
Miquel A. Corominas - The main part of the 3D production has really been made in Bren by 6 people, adding sporadically some person more at the end of the production by the increase of the number of planes at last moment.
In order to constitute the 3D team, we looked for determining professionals with a wide baggage for each one of the sections of the production, from the modeling process to the final product, and coming from such different worlds as the 2D animation and professionals of publicity. But with a common point: the potential to give a high quality final product.
3DA - Generating CG for a traditional animation movie doesn't have to be easy. It's everything in the shaders and render? What is most important?
Miquel - At the moment, almost all the important 3D softwares in the market have a kind of 'toon' system with sufficient quality, but an important part is that lines work all the time, since you are at many moments with occlusions of line difficult for solving, for that reason you must take a lot of care with the modeling, forcing the line to appear in render, and the object position in relation to the 3D camera.
The most important, at any moment, it was to don't forget at any moment that this was a 2D production, and for that reason, one of the challenges, and in that more interest we put from the beginning, was that 3D and 2D were not different. Working the character shapes and the final look.