先介绍一下Alberto Mielgo，他是一位来自西班牙的动画艺术家，从担任迪士尼出品的动画《创：崛起》的艺术指导为人所知，到爱死机第一季第三集The Witness通过光怪陆离的独特风格给所有观众留下了深刻的印象，我也是那个时候开始关注他的。2021年他凭借The Windshield Wiper夺得奥斯卡最佳动画短片，算上之前的还拿了四座艾美奖和两座安妮奖。这次Alberto Mielgo携Jibaro再次出现在爱死机第三季，又一次通过近乎癫狂的艺术风格吸引了所有观众的注意。
Please allow me to explain about my mysterious roll in Sony´s “ In to the spiderverse” film as a "Visual Consultant"
3 years ago ( or a bit more? ) I was hired by Sony as the Production Designer / Art Director ( I always much prefer the sound of Art Direction than Production Design, despite the status or hierarchy ) and I was also contracted to direct a little clip that will ended up been called: "the animation test".
Very early, So early that I had an entire empty huge massive 2nd floor just for myself, and it was like that for few months. No Directors or Producer was attached to the film at that point yet.
My main goal at first was to explore the world, the comics , the past of Spiderman, the cinematography, the language, the style, the possibilities. To set the most amazing thing ever, basically.
Something that either accidentally or on purpose I always want to do in my projects is to brake the repetitive and very succesful “look” and pipeline that all the big Giants Corps in animation had been smashing in our faces for the last decade, up to a point that is dificult to diferenciate who did what.
Successfully achieved in early projects like “The Beatles Rock Band” , my Pinkman videos or later on with “Tron Uprising” . But this requires openess and colaboration.
在我的早期作品中，如“The Beatles Rock Band”、我的Pinkman视频和后来的《创：崛起》，我都成功地实现了这一点。但这需要开放性和协作性。
As soon as I got hired I worked super hard 7 days a week and hell of hours per day from day one. Painting, Drawing, Designing and Story Boarding. SONY responded amazingly with the first images and animatics.They were real happy. I felt powerful, super confident partially because I was doing good hard work but also partially because Sony made me feel that way.
Sony was generous and open to anything. Everything I asked it was given to me. We hired my dream team : ALL my favourite artist and long time collaborators. ( Vaughan Ling ( heavypoly ), Yun Ling, Neil Ross, Craig Mullins, Beeple, Peter Chan, Jesus Alonso Iglesias, Wardelight, Robh Ruppel, Raffaello Vecchione ) They got me an Spiderman suit ( …for my references for the character… ) and trips to New York with a great location scout whom took me in to definitely NONE public super restricted areas to take million of photos and feel what must be to be Spiderman. HELL of Vertigo I must say, HOLLY FUCK. Getting up there and loosing myself around NewYork with my camera in search of locations was with no doubt some of the most amazing times on my career so far.
Anyway, Sony very much allowed me all my eccentricities.
索尼很慷慨，对任何事情都很开放。我所要求的一切都得到了满足。我们聘请了我梦想中的团队：所有我最喜欢的艺术家和长期合作者（包括Vaughan Ling (heavypoly), Yun Ling, Neil Ross, Craig Mullins, Beeple, Peter Chan, Jesus Alonso Iglesias, Wardenlight, Robh Ruppel, Raffaello Vecchion）索尼给我买了一套蜘蛛侠的衣服（…为我的角色做参考用的…），还让我和一个厉害的采景员一起去了纽约。采景员带我去了完全没有任何公众的绝对禁区，我拍了无数张照片并体会到了是什么样的环境铸就了蜘蛛侠。我必须说，那地方简直是个迷魂阵，**刺激。在那里，我带着我的相机在纽约四处寻找取景地点，毫无疑问，这是我职业生涯中最令人惊叹的时光之一。
The animation test ended up just few clips to explore the technique and the style.
Again Sony 5 Starts gave me full most luxurious team of super high profile technicians, artist, software , hardware, animators, 3D artists and modelers. People with lots of patience that didn’t understand very much what I had in my brain at first. But together and thousends of paintings , layers , renders and hell amount of art we all develop the most spectacular 3 or 4 shots I ever seen. ( at least at the time ) I hope Sony will publish them some day. ( And hope they dont give me an "Advisor" Credit for that…! )
Sorry this is getting too long.
At this point of your reading you provably figured out that I get fired some time in this story.
After almost 2 years ( or year and 1/2 ) I guess Sony and me didnt get along that well and I was fired . Where the decision came from or where it was initiated is still a mystery. This was very much a painful surprise for me and my team and many others. We had mostly technical and style discrepancies but I didn’t know they were so major. The way I wanted to do things and the way Sony wanted to do things, at least at the time, were different.
I think it was really difficult time for Sony too.
As a very intense and eccentric artist that I am, I rented a U-haul , emptied my office in few hours, left the building as quick as I could and pretty offended unfriend every one in facebook!!!!!!. ( This now explains my raging post back in December 2017 with the release of the first animation teaser . I hope this answers your questions, I will not delete that post, but I apologies if I disrespect the artists involved on such a piece of animation. )
It was very hard time. Specially because I had to leave all my artists , all my art, lots of painting tutorials and all my ideas behind. If you are an artist you can imagine the feeling.
Other artists , other directors and art directors and production designers join the team. A difficult task for all of them. Brave people with new energy ready to continue what I left.
I want to congratulate absolutely everybody, my original team and the huge amount of artist that came after. Everybody, Artist, Producers and Technicians. My original vision for sure could had been a different film. Worst film or better film, thats not important. A film, same a life, has many possible futures. The movie in fact talks about dimensions. Thats very much my point. The film I imagined happily lives in another dimension.
And I can feel they were all very inspired from that early vision, the initial base.
Believe me Im not trying to claim any authorship because this film has many authors: hundreds of artists, producers, animators, 3 directors, modelers, groomers, shaders, 2D artists, Storyboard artists, writers, assistants, in resume HUGE AMOUNT of brains creating a brave pipeline…
Please keep in mind that when I left : STILL THERE WAS A FULL MOVIE to be made !
Animation is so collaborative and inclusive. More than any art that I know. Everybody are all authors and responsibles of this film.
I know so well that this film hasn´t been easy . Was not easy when I was there, was not easy when I left. More than 100 minutes of animation are a lot of minutes.
And the film preserves the most important part: To create something different from what we generally see in mainstream animation.
Sorry I was long. I just wanted to explain about this weird Visual Consultant credit that I ended up having in the film. People keep asking.
The reason why Sony, directors or producers do not mention my work that much out there, or if my mysterious "Visual Consultant" credit is not bad, or not good , fair , or unfair is more a problem of myself getting poor legal advice. I dont care as long as I can write a text about it and at least have few people reading it. Even though I think I have a pretty sweet mention in the book. May be no, Im not sure.
Thank you Sony for investing during that time. The film is finished. WOuhh… look at the general reaction! Sensational. Well deserved.
As I mentioned before, I was hired to direct the animation test for the new Spiderman film.
Here you can see my original storyboards and animatics that I produced for such a test. My main intention was to explore the language of comics and cinema and merge them together. We finished only 4 of this shots. And everyone ended up pretty exhausted!!!
The shots that we produced with an incredible technical team were some of the most amazing thing Ive seen, and Im extremely proud of them and the team involved. With those shots we open a door to a pipeline and possibilities and help to estimate the overall film.
I hope Sony will allow me to share the finished shots some time in the future .
Im really happy to see that most of my shots on this early boards made it to the final film. Again I would like to congratulate the whole team that finished the final film for preserving the compositions and the original intention of these shots. It shows that everyone felt inspired and that they really cared for this particular vision.
As you can see the 3 versions are very different in tone. It was early and I was not too sure yet what would be the final mood of this film yet.
I work with pencil, photoshop, I do the comp in After FX and my edits in Premiere, with my own sounds and all bunch of crap in Audition… Did I ever say how much I love adobe?
Music on this obviously temp score just for the edit.
My pick temp track artist:
v1: SON LUX
v1: SON LUX
And lastly, at least for me, this logo that I did for Miles, mugs, t-shirts and all sort of marketing paraphernalia.
Originally done with spray can over big cards of paper.
I really like that it was kept as is because still maintains the hand and imperfections on it, even printed in a mug I can see where I fucked it up.
It was inspired / based on that ANARCHY symbol that I always liked to draw almost everywhere when I was a teenager. I never revealed the meaningful origins though, but I faithfully follow Anarchy on animation.