Vulnerability so delicate it makes porcelain look like steel, often mixed with raw, raging musicality to make for searing, gut-wrenching moments. That meant that I had to catch up with the schedule on the more subtle scenes and produce more on those days. I got really anxious I wouldn’t be able to push through until the end. The culmination of these techniques and explorations is in the Ocean scene at the end.Daniel lives in Los Angeles, CA, with his wife. After seeing our initial round of tests, Mitski asked us if the character could fall through or into the ocean at some point of the story. Initially, the plan had been to just have the character land directly back into the landscape with her shadow. A Pearl Motionographer spoke to the creators of this piece to get some insight into their process. After we made the first test of her passing through the white paint house (below), I noticed that the 3D lighting and color palette actually had a pretty big influence on the final visual quality of the piece.Up until that point, we’d been using a grey character; the plan had always been to make the character resemble Mitski but we weren’t sure at what capacity and detail. However, the input she did give very much helped us shape the project. His renders kept getting more and more detailed over time.Throughout the project, colors and mediums were chosen very carefully. “A Pearl” is a song from Mitski’s fifth studio album Be the Cowboy (2018).
“A Pearl” is a song from Mitski’s fifth studio album For me, it was actually about when you have some kind of toxic relationship to yourself, or to another person, for so long that it becomes your identity. What was that collaboration like?For this project, how were the tasks and responsibilities split between the directors?The mix of techniques and the process involved in this video is something that really stands out. He tested so many print settings and papers in order to find just the right print that looked good and which had the right texture for me to work on.On average my goal was to make about 100 frames per day. The end result was that it dramatically increased how long everything took, but also allow us to create the moving painted style.
The ocean scene, for example, was so intense I could only do 50 frames a day. Can you talk about the creative decisions you made along the way, the choice of mediums and techniques, as well as the challenges and limitations you faced through such a demanding production?Thank you Danaé and Saad for this interview and congratulations for such an amazing undertaking! You just roll around this pearl in your hand every night and just look at it, like it’s a pretty thing. That song is about likening that sort of toxicity to a pearl. The first real test of this technique was in this gif of Mitski falling into the flowers as a closeup:Danae also changed her process a bit for this tests—in the earliest tests she had drawn and painted on top of or around the character or scene, whereas in this test she drew into the tones of the characters skin, dress, etc, matching and enhancing the pre-existing colors.
One of the biggest examples of this is the ending scene in the video. This test was the first time we achieved a more “painted” effect in the animation, where both 3D and 2D lived in harmony rather than opposition.To me it was a turning point in the project, from there on out I started to spend extreme lengths of time on the modeling, lighting, and coloring of each scene to try and push the painted effect. Eugene Lee, my friend and another key team member, was dealing and monitoring all of the printing. But due to the more heavy-handed quality of some scenes, I could sometimes only do 70 or 80 frames per day.
Mitski, “A Pearl” “I fell in love with a war and nobody told me it ended” — now there’s an all too relatable image for twenty-something emotional dysfunction. Even if it becomes quite intuitive after a while, I spent a lot of time building color palettes for each scene.
As Danae and I continued to produce tests, we began to make more and more promising results. Motionographer spoke to the creators of this piece to get some insight into their process. Mitski self-released her first two albums, Lush (2012), and Retired from Sad, New Career in Business (2013), while studying at Purchase College 's Conservatory of Music. Art Camp were the producers of the video and also worked on the direction.I would focus a lot of my time on the narrative direction/concepting, visual design, and animation of the scenes. Based on that test, I created a fully colored Mitski character with skin tones and explored different ways to light the skin in 3D that I felt would translate well into the physical process.
In the production, I was responsible for the design and animation of the video in 3D, for editing the video and for developing the narrative. 2:32. Mitski ’s power is in her extremes. Even when you don’t need it anymore and you’ve stepped away from it, you still hold on to it because it’s scary to let it go — because if you actually let it go, it feels like erasing yourself. Even though you’re in this great relationship with somebody who loves you and wants to take care of you, you still don’t talk to them about what’s toxic in you.
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