ZHEESHEE is a creative studio. Elmira is one part of the team of the finest creative and technical minds. They create CGI, VFX, 2D&3D animations, live action films and all forms of video content.
In this interview, we sit down with Elmira to discuss her inspirations, concept behind “Billy”, production process and what business success means for her and the team. So, grab your popcorn and settle in for an enlightening conversation with one of the animation world's brightest minds.
A: "Billy" was born out of our desire to explore a different angle in the world of robotics and storytelling. We wanted to step away from the typical post-apocalyptic robot narratives and instead introduce a lighter, more sarcastic story. You know, we're all a bit tired of the heavy stuff, and we thought it would be interesting to take a problem we care about, like waste recycling, and present it from a fresh perspective.
It's like that election campaign video that initially urged people not to vote but then changed its concept. In "Billy," we're doing something similar, telling people to litter, but, of course, the situation is quite the opposite. We chose the mockumentary style because we enjoy working with realistic textured animation, and it allows us to bring out the fluidity we love.
Those moments where Billy tries to imagine himself playing Aussie footy or fishing with his ‘imaginary child’ really resonate with me.
A: I have to say, I'm quite attached to the flashback scenes in "Billy." Those moments where Billy tries to imagine himself playing Aussie footy or fishing with his ‘imaginary child’ really resonate with me. We enjoy working with clichéd images and offbeat characters because it seems to warm the hearts of the audience. It's a blend of familiarity and quirkiness that we find really appealing.
A: Oh, definitely the sculpting and modelling of Billy's figure. It was a lengthy and intense process, but it was crucial because Billy's appearance is central to the entire story. We had to carefully consider the materials and sizes of the trash that could make up Billy's body.
At first, we envisioned him as enormous, but that caused scale conflicts with the environment and his interactions. We wanted him to be able to do everyday activities like playing football or sitting on the beach. We also spent a lot of time perfecting his eyes to strike the right balance between human and artificial. Initially, we tried to justify every detail's behaviour, but then we decided to embrace the fact that this story takes place in the future, allowing us to rely on fictional technologies.
A: The narrator's voice was a crucial element of "Billy." We had grown so accustomed to the initial rough voiceover recorded by the director as a reference that it was challenging to consider other voices. Then, we received a letter from Baldwin Williams Jr., and his voice immediately caught our attention. He brought a unique approach to the character, distinct from our reference, and added depth and drama to Billy's story. His interpretation redefined the character and injected a new level of emotion into the animation. Now, it's impossible not to be moved by Billy's journey thanks to Baldwin's exceptional voice work.
A: In this project, we primarily honed the skills we had acquired from our commercial works. We used mockups, combined live-action and graphic elements, and played with HDRI maps to replicate real location lighting. One interesting tool we utilised was Tyflow modifiers for generating the surface displacement in the sand from Billy's steps. It added that extra layer of realism to the animation.
Storyboarding was a crucial lesson in this project. It's essential to have a clear understanding of the entire narrative early on.
A: Absolutely, storyboarding was a crucial lesson in this project. It's essential to have a clear understanding of the entire narrative early on. We made several pivots during production because we realised that some aspects weren't working as we intended. We were not afraid to change the concept, approach, and even make adjustments to the team to ensure that the project organically developed into what it became.
A: In today's content-saturated world, it's vital to constantly captivate the audience and anticipate their interests. We enjoy crafting simple, relatable stories but infuse them with unique and unexpected elements to make them stand out. Seeking inspiration from various spheres and industries is also a key part of our process. We believe that innovation and creativity flourish when you draw from a diverse pool of sources.
Processing Billy's voice to convey his mechanical nature while avoiding the clichéd robot voice was a unique challenge, but we managed to strike the right balance, and we're pleased with the result.
A: Sound and effects are absolutely vital in our work. Good sound enhances the visual experience and adds depth to our creations. In "Billy," where there's just one highly detailed character, it was crucial to get the sound right. We worked with a fantastic foley artist, Ilya Shibanov, who recreated every movement of Billy's hands, legs, head, and even his recycling unit. Processing Billy's voice to convey his mechanical nature while avoiding the clichéd robot voice was a unique challenge, but we managed to strike the right balance, and we're pleased with the result.
Seeking inspiration from various spheres and industries is also a key part of our process. We believe that innovation and creativity flourish when you draw from a diverse pool of sources.
A: For the last few years, we have witnessed a powerful breakthrough in the world of computer graphics towards adult animation. Cartoons and animated series have become popular among different audiences. For us, the ability to create animated stories and evoke emotions through them is the most important part of our job. The SPARK has given us the opportunity to go beyond commercial projects and become a part of the world of Big animation.
Q: Could you please provide three examples of the work that you admire the most?
A: Generative AI is an incredible tool that has the potential to streamline and enhance the creative process. We see it as a valuable addition rather than a complete replacement for specialists in the animation industry. While we've dabbled in tools like Midjourney and Stable Diffusion for some experimental projects, they haven't yet become a full part of our pipeline. We're at a stage where we're exploring the possibilities, and we can already see how some of our studio friends are fully integrating AI into their projects.
A: Absolutely. Right now, we're witnessing significant changes in the 3D animation industry. Technology has advanced to such a degree that technical prowess alone no longer suffices to impress audiences. Creators are increasingly exploring different styles, which is evident in works like "Spider-Verse," "Puss in Boots," and "Teenage Mutant Ninja Turtles." People are eagerly embracing new styles, and sometimes, technical perfection can become somewhat tiresome.
We find inspiration in the works of artists like Guillermo del Toro, who focus on craftsmanship and storytelling. Stylised works often gain more popularity than technically flawless simulations of elements like water or hair. At the heart of it all, storytelling remains paramount. As long as a story is brilliantly told and shown, it will captivate audiences. We should stay true to our values and tell the stories we want to tell, without limiting ourselves or trying to cater to everyone's tastes.
We find inspiration in the works of artists like Guillermo del Toro, who focus on craftsmanship and storytelling. Stylised works often gain more popularity than technically flawless simulations of elements like water or hair. At the heart of it all, storytelling remains paramount.
A: ZHEESHEE Studio has been in the CG production industry for over a decade. It all began with a background in film production. Initially, we focused on post-production for live-action commercials, but our passion for animation led us to create entirely animated ads. We expanded into mapping shows, even winning awards in international light shows.
Then came the opportunity to create the intro for a Dota 2 Esports tournament, which was a turning point for us. It ignited our passion for trailers and cinematics in the gaming world. Alongside this, we continued to raise our standards for post-production in advertising and kept refining our skills with each project.
A: For us, success is when every member of our team can unleash their creative potential and find fulfilment in their work. When the end result resonates with the entire team and reflects the studio's internal vibe and atmosphere, that's success. We want to do what we love and what brings us joy so that every working day and every zoom call are a pleasure. Our ultimate goal is to create a positive and inspiring work environment where creativity thrives.
For us, success is when every member of our team can unleash their creative potential and find fulfilment in their work.
