The Oscars: Joubert Talks French Roast
BD: What software did you use?
BD: What were the most difficult challenges?
FJ: For me, the most important thing that I really wanted to achieve was a translation of the 2D design. I really love Nicolas' design and wanted to respect that and try to translate that into CG. We spent time on that with modeling and texturing because I really wanted to get that painterly feel that we have in his drawings. He used a lot of watercolors and inks and pencils all mixed together -- it was very nice and beautiful. So everything was painted in Photoshop with brushes and to recreate the feel.
BD: Talk about use of the mirror, which I found fascinating and a little disorienting at first.
FJ: Right, I realized that there was something strange about having a mirror in front of us. It's the fact that you don't see yourself or a camera or anything. And that kind of shot you couldn't really do in live action except maybe with special effects. It's something that you really can use with the animation medium. But really the mirror was about being able to reverse shots: having two characters' reactions in the same shot, really. And using a mirror made that possible. I didn't want to use anything else. And the mirror effect was a challenge for the animators. They had to control both versions: the character in the real world and his double in the mirror. In our case, we had twice the work to do.
BD: And the inspiration for these flamboyant characters?