Rocky & Lily : The adaptation of a creative universe into 3D animation.
For several years, the face of RTBF youth has been embodied in the world of Rocky & Lily, successfully adapted into shows, concerts and podcasts. RTBF's new objective was to lay the foundations for an expanded universe in 3D series, thus opening up new narrative and visual perspectives for these iconic characters.
To achieve this ambition, Dreamwall took on a technical and artistic challenge : adapting this universe towards the 3D while preserving the visual identity and the emotional connection the public has with the original license. This project was not limited to the creation of isolated content, but is intended to serve as an industrial "prototype" for a future series.
A fully integrated production from start to finish: the DNA of Dreamwall
This project marks an important step in the support we offer our partners. While Dreamwall regularly intervenes in specific segments of the manufacturing chain, here we managed the production from start to finish.
In an animation project, the pre-production phase forms the foundation upon which the entire production process rests. Each step is closely linked: writing the script and creating the storyboard define not only the narrative rhythm, but also the technical requirements of the entire manufacturing chain. In a 3D workflow, a structured approach is essential to ensure that 2D design choices are immediately confronted with realities, constraints and possibilities of 3D tools.
As such, the short music video format represents an ideal opportunity to test all these processes and strengthen expertise in pre-production management. Planning ahead at this stage allows for the technical validation of the staging intentions before animation begins, thus avoiding costly roadblocks during the actual production phase.
The technical challenge: from design to "Grooming"
The adaptation of Rocky is an interesting case study to illustrate the complexity of media transposition. To go from a physical puppet to a living digital character, Rocky followed a rigorous path through our pipeline:
1. 2D Design and modeling : An initial 2D adaptation was necessary before moving on. With Maya and Zbrush, our modelers translated the volumes of the original puppet into a flexible 3D model, capable of executing complex choreography.
2. Texturing et surfacing : The use of Substance Painter allowed for the definition of rich textures, adding depth to the characters' clothing and accessories.
3. Grooming (hair management) :This is where the true secret to visual success lies.
Grooming is often one of the technical tipping points in animation. It adds considerable computational density and requires precise management of dynamics, that is, how the fur reacts to movement and collisions. For this project, our development and technical teams implemented a pipeline that allowed us to "get the fur out" very quickly. The goal was to give Rocky that soft and warm "plush" look, essential to his identity, without slowing down the overall production chain or compromising rendering times.
The architecture of movement and software innovation
To animate Rocky, Lily, and the secondary characters (children and adults), the next step is... Rigging ! This was crucial. The rig is the digital skeleton that allows animators to manipulate the character. We designed a robust motion architecture, intended for reuse in the future animated series, which involved considering the modularity of the assets.
Innovation also extended to the choice of animation tools. By using Rumba, a next-generation 3D animation software, our artists were able to focus on expressiveness and creative performance. We maintain constant technological monitoring and regularly learn new animation software: while Maya remains our most widely used tool to date, we are able to move up to new ones such as Rumba or Blender.
Lighting and rendering: giving a soulcinematographic
The final stage of Lighting and Compositing, created with Guerilla, involves illuminating the sets (a complete amusement park with a Ferris wheel, carousel, and roller coaster) and integrating the special effects (FX). From fluids to confetti, every detail contributes to the film's overall lighting consistency.
The compositing process assembles the different layers of the image (rendering passes) to obtain the final result. It is at this stage that the project takes on its cinematic dimension, transforming mathematical models into a vibrant and colorful work, ready for multi-screen distribution.
The professions involved: a synergy of experts
To complete the 3 minutes and 21 seconds of this video, Dreamwall assembled a full multidisciplinary team:
● Coordination & Management: Line Producer and Production Manager for budget monitoring and scheduling.
● Supervision Technique: Technical Directorate (TD), CG Supervisor and IT Support for software infrastructure.
● Artistic creation: Director, Art Director and Storyboard Artists.
● Fabrication Assets: Artistes Modeling (Character & Enviro), Artistes Surfacing et Riggers.
● Animation: Lead Animator, 3D Animators and CFX Artists (Cloth & Fur).
● Final image: Lighting Artists, FX Specialists and Compositing Artists.
● Post-production: Editor and sound engineers for mixing the voices of Rocky and Lily.
Mastering the flow: Dreamwall agility
Producing such a project requires great resilience. Thanks to our proprietary Production Tracking tool (whose sweet name is Bongo), we were able to monitor progress in real time, anticipating technical needs to avoid bottlenecks. Bongo centralizes information and allows each department to know the validation status of the assets it depends on.
This "all-terrain" project management approach allows us to maintain the expected quality standard for its use by RTBF. The Rocky & Lily 3D adventure is just beginning. This clip validates not only an aesthetic, but above all a pipeline global ready to be deployed for the upcoming series, demonstrating the studio's ability to take projects from idea to screen.
