![]() ![]() This multi-step process involved matching the 3D layout and animation with the 2D animatics as backplates in C4D. It was a multi-step process, but it always felt very smooth. Then, we passed back 3D renders so the 2D could be further refined on top, with supplied mattes and other passes for interaction. With clear communication of story and intent, we were able to match the 3D layout and animation with the 2D animatics as backplates in C4D. Our skill sets overlap somewhat, so communication was easy. SG: The process ended up being relatively straightforward. ![]() The process required a lot of planning, but because Scott’s so experienced, he could smooth over many of the gaps in my thinking. RG: The freedom to supply Scott with sketched animatics, to which he matched the 3D moves, was thrilling to me. PB: Describe your process for combining 2D and 3D for the film. Also, the style he proposed really interested us because Substance had never undertaken something like that before. We knew we’d collaborate well with Robert, whom I’d met some time back at a gathering of Sydney-based designers and studio owners. We also believe in the power of design for good, and we look for opportunities to use the moving image to create positive social impact. We’re interested in how we can use the moving image to spark conversations and connect brands to people, or vice versa. Disorder has heart and a message we believe in, and it’s very much in line with some of Substance’s previous work. ![]() Scott Geersen: A few things, starting with the subject matter. PB: Scott, what made you want to get involved? Placing photo-real 3D on a 2-dimensional background created a powerful visual effect. I think anytime you reduce complex intellectual theories into simple visual metaphors, certain ideas are going to take more attempts to get right. We nailed three quarters of the film in the first pass of the boards, but the final fourth was a real challenge. As the client, Paras had never commissioned anything like this before, so every stage of this process was new. But, it was the perfect chance to be brave with my ideas because the script was so unique, and I had a rare degree of creative freedom. RG: This was the most involved storyboarding process I’ve ever done. PB: You had a lot of big ideas to visualize. His appreciation of my animation just opened the door, and it was the way we discussed the themes and potential of the project that brought us both to the table. Robert Grieves: He sent me an email saying he found me on Google and liked my films. PremiumBeat: Robert, how did Paras Chopra find out about you and your work? ![]() The production involved traditional illustration, cel animation, and 3D with Redshift, and, as you’ll see, it was an interesting - and worthwhile - challenge for both of them. We asked Grieves and Geersen to share the ins and outs of creating Disorder, as well as discuss how their mixed-media approach to storytelling took shape. But, he wasn’t sure how he was going to pull it off, until he brought Substance founder Scott Geersen on board. Grieves quickly came up with a way to mix 2D and 3D, to get a look they both liked. The project began when Chopra - a tech entrepreneur who founded Wingify Earth to help raise awareness about the danger of climate change - contacted Grieves to discuss bringing some of his writing about climate issues to life. This short film aims to explore humanity’s fragile relationship with the environment. ![]()
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