CAMOUFLAGE AND ESPIONAGE is a cartoon with its own unique style, creative vision and color palette that will set it apart from its competitors and distinguish it from other Blue Sky Studios films. Paying homage to classic spy films, production designer Michael Knapp ( EPIC , ICE AGE COLLISION INEVITABLE ) recreated all of the film’s exotic locations, from Washington DC to Japan, the Mayan Riviera and the North Sea, while still showing the world as thoroughly modern and therefore quite recognizable to viewers.
Considerable attention was paid to color and lighting in the film. Knapp developed a language of color where warmer oranges and yellows symbolize teamwork and community. The warm turquoise hue represents the Agency, while the cool blue represents isolation: that’s why Lance chose this color for his costume – this is a man who “flies by himself.” Red is a sign of danger, so when we first see Kimura on screen, he’s wearing a red silk shirt and his surroundings are red. Killian is shown with a red eye; red video sensor at the drone “Assassin”.
Knapp says, “Through the film’s set design and lighting, we constantly looked for ways to create a ‘frame’ for our characters, experimenting with color, light and shadow to highlight their silhouettes or highlight their stylized sculptural forms. We have always strived to emphasize the “graphic” aspect of shooting and rendering.”
The same is true for camera language. Lance, who prefers to work alone, tends to keep to himself, so he can be seen in separate shots, highlighted with light, or in camera focus, while everything else is out of focus. In this way, viewers will be able to see and feel his tendency towards loneliness. Whereas Walter uses a wider focus range and warmer, brighter light.
The camera work was planned to give the film as much realism as possible and to bring it closer to the action-packed contemporary spy films. Great care has been taken to mimic the use of rigs and camera movements as in live action films, as well as to reproduce graphic compositions that are nods to the iconic spy movies of the 60s. It was important to ensure that the cameras felt like they were reacting rather than imitating, so that the processing of their movement after the animation looked more spontaneous and organic.
Director Nick Bruno says, “Each frame of our film is meticulously crafted by specialist artists, and each of those nearly 600 hundred artists deliberately manipulates the audience to make them feel a certain image in each frame. So when we want you to feel sad without you noticing, the clouds in the sky become a little more gray, and our characters look a little gloomy and distant from each other. And when they’re happy, they’re shown together in the same shot, and the sky is a bit sunnier.”
Music is one of the main components of spy movies, responsible for creating a cool atmosphere, along with action, tension and intrigue. To create the soundtrack, the filmmakers turned to composer Theodore Shapiro ( SPY , SPY AND HALF , SOLDIERS OF FAIL , THE DEVIL WEARS PRADA ). The directors immediately set him a difficult task – to come up with a main theme for Lance Sterling, as recognizable as the theme from the James Bond films or MISSION IMPOSSIBLE .
An invaluable find for Shapiro’s team was music editor Tom Drescher, who turned out to be a real expert on birds and was able to create a whole suite of birdsong that Shapiro included in the soundtrack. “While reading the script, we both just heard certain songs in our heads, evaluating them in terms of the sequence of sequences and the mood of certain scenes,” recalls director Theo Kwon. “We recorded them, and when we finished with the script, we realized that we needed Mark Ronson, because he is a real genius who can bring a modern sound to a classic soundtrack. Then we turned to Ronson himself, and he liked our idea. He served as an executive music producer on the soundtrack and also wrote and contributed to a number of original songs that provide the film with its soundscape, an atmosphere of suspense, nerve, drive that evokes the self-confidence of Lance Sterling.”
Blue Sky Studios collaborated with Audi on a project to create the perfect ultra-modern car for a super agent. The Audi RSQ e-Tron is a completely fictional, futuristic virtual model designed exclusively for the movie. It is intended to be an all-electric, two-seater sports car that is packed with all the high technology found in actual Audi models currently in production or planned for the near future. These include Audi electric drive, virtual exterior mirrors, laser light, on-demand functions, holographic speedometer, autonomous driving mode and Audi AI. In addition, the authors of the cartoon added other “spy” functionality to the car, specially “designed” for use by special agents.
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