![love death and robots the witness art love death and robots the witness art](https://cdna.artstation.com/p/assets/images/images/016/839/788/large/eugene-kolesnichenko-girl.jpg)
These 3D paintings were only used for shots that required a lot of camera movement. I was in charge of creating what I would call 3D paintings, using Blender. How did you use Blender in your creation process? Did you use it in conjunction with other tools to create the episode? It’s based off of real reference material, video material of animation, but the animators are recreating it by eye and feeling. Did you animate the characters by hand, or did you use motion capture?Įverything is animated by hand, there’s no rotoscoping, no motion capture.
![love death and robots the witness art love death and robots the witness art](https://66.media.tumblr.com/82366434af71637d8cce704b099f9e2f/21ff5ae63d6e3239-89/s1280x1920/dfc17afdab6c03db5d168058c9e8b3c35bed88d1.jpg)
A lot of the interiors are European, they’re jumping around a little bit, but for the exterior stuff, it’s mainly a love letter to Hong Kong. They’ve put together compilation videos where they’ve found every spot. Some of the show’s fans in HK have actually gone out and scouted all the locations. There’s some Russian influence, weird sci-fi neon-y type stuff, also.
![love death and robots the witness art love death and robots the witness art](https://vignette.wikia.nocookie.net/lovedeathrobots/images/3/37/Hitler.jpg)
Alberto took a trip there and got lost for a few days with his camera. The simulation, animation, sculpting, and painting all come together to create this alternate reality which I think the audience was really not used to seeing! What sorts of references did you use to develop the characters and environments?Īlberto and Lucia, our fashion stylist, are really into street fashion, Instagrams, blogs. There’s a lot of graphic reduction in the visuals, but at the same time it’s almost eerily real because the painting and the lighting are so spot-on and the animation is so, I guess, lifelike that it trips people up sometimes. How did the look of the episode develop and how did you all want the look to contribute to the overall story? The episode has a very unique look that is reminiscent of Alberto Mielgo’s other work. One of the directors from LDR reached out to Alberto, they were a fan of his previous work. How do you get your animation on Netflix? Did they commission it? So that was a nice thing that Alberto got to do his own thing on this project. A lot of the episodes were based off of existing stories but I think this ('The Witness') and one or two others were original stories. It’s a fantasy chase with a bit of Black Mirror twistiness to it. What is the concept for your Love, Death + Robots episode, ‘The Witness’, and how did you all come up with it?
#LOVE DEATH AND ROBOTS THE WITNESS ART FULL#
Honestly, I don’t know the full scope of the animation team because it just exploded in size at a certain point, but I think for the majority of time the team was maybe 20 people. I worked remote in Los Angeles and we had artists based in Canada, France, all over. We started in LA with our producer Gennie Rim, then Alberto went to Madrid to build out his studio Pinkman.TV where the core team of Spanish artists worked. How many people worked on this / what does your team look like? BlenderNation sat down with artist Vaughan Ling to talk about his work on Love, Death, and Robots episode 3, 'The Witness', and how he uses Blender in his workflow.