The Oscars: Alaux, de Crécy and Houplain Talk Logorama
HDC: Maya, but Mikros used a very special rendering system for the logotypes, because, as you know, there is a kind of outlining and a lot of complexity. And in the same frame, you have to show logotypes in 3D. And so you have different types of shaders at the same time. And we spent about a year trying to figure out how we wanted to show logotypes in the film: when to use shadow and when not to use shadow.
FA: And this process was complex because logotypes come from different designers. Some have big outlines, others don't have any outlines. Some use shadows, some don't.
HDC: And when you use the Michelin guy in a copter or Ronald McDonald in a a van or using the weapon, you have to think about the best combination of logotypes so you have something easy to understand.
BD: What have the different cultural reactions been like?
HDC: It's so different, depending where you're from. For example, when you see Ronald shooting the cops, his weapon is the logotype of the Red Faction Army, the German terrorist group of the '70s. And a lot of Americans ask why he's using the Royal Air Force and I explain that it is something completely different.
FA: We're doing a 30-minute film for a videogame company that's linked to the Tom Clancy franchise. It's live action but it's a good opportunity to work in a longer format. Logorama was new for us too after working on commercials and music videos.
BD: And, you, Ludo, any more shorts at H5?
LH: We are doing more commercials and exhibitions and a new short as well. The action takes place in Russia and outer space and is an interpretation of Russian Constructivism as if it was created today. Obviously, it is totally different from Logorama. It's about dehumanization and also plays with the roots of cinema.
BD: Who is doing the animation?
LH: Forêt Bleue, which worked on I, Robot.
BD: And the name of your short?
LH: This is the End.
Bill Desowitz is senior editor of AWN & VFXWorld.