The only notable exception is the second to last shot which was re-animated 3 times just to get right. 4 bottom cubes were feet, 1 center cube the head, the rest merely detail. Having the head change colour was confusing to the viewer, while for any of the other faces it didn't make the slightest difference what colour they were.Īnimating the cube as a character was technically the simplest rig I've worked with, yet at the same time extremely expressive. This was especially relevant as the cube's 'head' always needed to be a yellow face - the only face that's consistent over the entire film. We animated the moves as they should, loaded up the solved state at the end, and played it backwards. While I can solve a cube, it's not something you want to have to consider while animating.
Our technical director managed to create a rig which could do everything in one, and added the additional bonus of being able to load different 'states' onto the cube itself. Couple that to the fact that, in any given state the cube would have to be able to be animated as a character as well. Simple to explain, surprisingly hard to get to work. Since each turn affects in which direction any given piece can go the next turn, it's a dynamic hierarchy which required a custom plugin to work correctly. While a Rubik's cube is mechanically very simple - it's just 27 plastic pieces that snap together - analytically it's a different story.
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This was a fact that 3D computer animation knows how to do best - but even in that case, the animation team had to reconfigure the whole process What matters in the film is the mindful interaction and engagement, and for that purpose the character design of Rubik's cube is paramount. "Therefore, we needed to create soft, moody, nighttime lighting to properly convey this, so we had to rethink many of the stylistic aspects". "Regarding Scrambled, we needed to create specifically moody, nighttime lighting to properly convey a quiet train station" Schravendeel explain. In many ways, Scrambled represents a technical advance from the previous Blikand Now you know it anyway,whose stories took place on sunny days, and had a high contrast between lights and shadows.
"The contrast between the impatient, phone-addicted girl who misses her train and the weathered, forgotten a notoriously frustrating-to-solve Rubik's cube contained quite some inherent conflict that made a lot of the scenes come out organically".
"It had quite a story at its heart" director Bastiaan Schravendeel tells Zippy Frames. Scrambled started as a side project and a 2-minute short to test stylistic aspects.But things changed when developing the script. Also, a sharing of duties between its founders, Sander Kamermans (visual style and art direction), Jean-Paul Tossings (technical director, rigging, simulation work, pipeline tools) and Bastiaan Schraveneel (writing, directing and character animation). The Dutch company Polder Animation (founded in 2010), specializes in character driven 3D animation that means a fine tuning between a visual and character style accessible to a wide audience yet still able to capture the imagination of animators and animation enthusiasts. Watch and read about the new animation short Scrambled by Bastiaan Schravendeel and Polder Animation.Īfter Esra misses her train late one evening, a discarded, living Rubik’s cube tries tries to get her attention in an attempt to get solved -Film Synopsis Rubik's Cube has also a heart-warming side as well.
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