Pinocchio par Guillermo del Toro
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Guillermo del Toro’s Pinocchio: how MPC crafted the VFX

This article is available in: French

Our interview with VFX supervisor Aaron Weintraub from MPC Toronto about Guillermo del Toro’s Pinocchio.

He chatted with us about the use of VFX, how his team helped Guillermo del Toro & Mark Gustafson achieve their creative vision by adding digital elements that could not have been done in stop motion.

With Aaron Weintraub, we discussed fire, weather elements such as water and snow, digital crowds, set extensions, the way stop-motion animators and vfx artists worked as a team, animation on twos, rig removal, stop-motion “charm” and more!

The first 20 seconds are a short introduction in French: don’t worry, the interview is in English! Feel free to skip the introduction.

Be warned, spoilers are included. We strongly advise you to watch to movie on Netflix before you watch this interview.
Last, but not least, don’t forget to subscribe to our Youtube channel: more interviews, reviews and content is on the way!

00:00 – Introduction
00:23 – Interview
00:39 – How MPC got the job
01:08 – MPC, directors, studio
02:04 – GDT & Gustafson / VFX
03:39 – practical vs CGI
04:17 – visual references
04:47 – Fire sims
06:53 – Ocean & water sims
09:49 – seashore [SPOILERS] [SPOILERS]
10:40 – skies
14:28 – environments (Limbo, Dogfish)
16:46 – Covid & remote work
17:42 – crowds
19:04 – digi doubles, 3D scans
21:40 – weather, rain, snow
24:28 – rig removal, cleanup, “charm”
28:04 – animation on ones, twos
29:25 – recognition
30:25 – GDT – most memorable shot?
31:51 – Tron Legacy, Silent Hill

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