Here you can take a look at some of the fragments we want to highlight of the animatics we developed for Mironins series.
The sea – Mironins animatic scene
This was about the tenth animatic we worked with. It was the first one that we found overall really well solved, regarding the concept, the staging, and the psychologic treatment of the main character.
We liked to start the chapter with the detail of the sunscreen pot and show how it goes from hand to hand, describing the personality of each Mironí, until we reach Blu, who is the protagonist of the chapter.
Blu is a fearful character and often needs a push to get things done, so, in this case, the spiders decide to help him get ready to go to the beach. They smear it with cream, put on some “swimming cuffs” and throw it in the painting of a beach.
We really liked putting those swimming cuffs on Blu, because in addition making him look like a little kid, we made him like more vulnerable and we reduced his mobility in his arms. A part from that, it helped us to add a point of tension at the end of the scene, when the object that was supposed to give him security and protection, ends up lost when he sinks towards the depths of the sea
The void – Mironins animatic scene
The three drops go through the Miró foundation looking at the paintings. Each drop has its favorite picture, wich shows the personality of each Mironí. Ro likes a very dynamic painting, Blu likes a soft painting, but Low, who doesn’t like her friends taste, doesn’t care and criticizes the works for being not good enough. Late, Low comes across a white painting with an only black line and she begin to see things that her friends ones don’t see. She (literally) hallucinates but the others, as they don’t see the same thing as her, laugh at her and replicate the comments she gave to them before.
We really like the ending act when Ro and Blu laugh at Low’s criteria while she’s trying to keep her dignity, so angry and with her crossed arms.
The dress – Mironins animatic scene
In this scene, Ro is the main character. She wants to help find a dress for the woman in the picture. Since she can’t find any, she goes out looking for something in the Foundation’s corridors. She finally finds a thread from a rug and pull it to wrap the woman around. It seems to work fine and the woman likes it, but Low, seeing that Ro has done wrong, tries to warn her about. But the fact is that Ro is dynamic and careless, so the solutions she tries ended by creating create new problems.
The rain – Mironins animatic scene
In this chapter we loved to play with the scales of the characters. The characters discover a hopscotch on the terrace of the building. They begin to play with it and it turns out that when you jump in the upward direction of the numbers you grow big and if you go the opposite direction you get small. Visually it’s a very appealing and funny concept, so we made a little tribute to the giant beasts movies in the city, like King Kong or Godzilla.
The Flashlight – Mironins animatic scene
The “Dark Ones” are characters who live in a very black picture. The Mironins, curious as they are, decide to get in to see what’s inside it. When a very scared Blu, sees some mysterious eyes following them, tries to run away quickly, taking the flashlight with him, leaving the rest in the dark. When he finally meets one of the “Dark Ones”, he realizes that there is no reason to be scare.
We love the staging of this scene inside the painting. You only see whatever the flashlight illuminates, the rest is absolutely black. This means that in order to solve the acting of the dark ones, we need to use the mimic. For example, there is a moment when Blu and a “Dark One” are pulling back and forth the flashlight. We can see Blu in full size but we only see the other character’s eye, we have to intuit his body by the movement only with what is seen on screen.
The Tornado – Mironins animatic scene
This scene is full of action, filled with elements that gives it movement. The wind, the tornado, the kite, the two mironins rolling inside the twirl of the tornado.
Narratively speaking, in this scene we can see the change that happens in Blu, who starts from being terrified of the tornado to face the danger in order to save his friends. We really like the moment he’s flying with the kite and the camera comes closer to him, and we can see how he narrows his eye before decides to go saving his friends.
Direction: Mikel Mas Bilbao, Txesco Montalt
Script: Cristina Broquetas, Celia Rico
Music: Banjo Soundscapes
Production: Cornelius Films, Flemish Audiovisual Fund, Hampa Studio, Institut Català de les Empreses Culturals (ICEC), Low Films, Peekaboo Animation, Radio Televisión Española (RTVE), Televisió de Catalunya (TV3), VRT – Flemish Television, Wuji House