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In what program do smeshariki. Technological process: how to create "Smeshariki"

In what program do smeshariki. Technological process: how to create "Smeshariki"

05.03.2020

On the occasion of the release of the film “Smeshariki. The Legend of the Golden Dragon”, the second full meter about the adventures of spherical animals, sobaka.ru learned from the director of the film Denis Chernov and screenwriter Dmitry Yakovenko how familiar characters “come to life” from drawings on paper.

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The Smeshariki series has been airing on Russian TV channels since 2004: during this time, its heroes have gained an army of fans from children and adults. Such a scale was not originally planned - the idea of the project arose at the moment when the production designer Salavat Shaikhinurov simply painted two gorged animals of the most rounded shape - a blue hare and a hedgehog next to it. This, according to director Denis Chernov, became interested in Ilya Popov, the future producer of Smeshariki, and asked to develop the story. So two circles - Krosh and Hedgehog - grew into a huge industry. The series and feature films are being prepared by the Petersburg studio team. In total, it employs 150 people, including 8 directors and about 50 animators. Cartoons are created in digital format using Flash, Toon Boom Studio and Maya technologies. For the full-length prequel of the series “Smeshariki. The Beginning ”, a special branch was formed that works with three-dimensional graphics - the film was shot in 3D, and in it the characters for the first time gained volume.

Denis Chernov:

“When we decided to make a feature film, we did not have a single specialist familiar with 3D graphics. We began to develop the concept of three-dimensional Smeshariki, we had to go a long way. Then we built another studio, where we already mastered volumetric technology. Our producer said that we will still do everything in stereo, that is, the audience will watch with glasses. Then I had thoughts about rope and soap. But we found the technology through trial and error, and we got people who were engaged in stereography. In general, it is very dangerous to work with a three-dimensional image: for example, you make the stereo very correct and not very three-dimensional, and after a few scenes the viewer gets used to it and stops perceiving it, sitting in glasses while walking. At the other extreme, when the stereo is done with a kink, then the volume of the stage becomes catastrophically large, and your eye muscles begin to suffer. On the second film, we already felt confident and could imagine what the effect of 3D would be, and due to this, build scenes and compositions correctly.”

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The script of the cartoon looks like text with replicas and descriptions of actions. It is created in stages: first, the application, then a more detailed synopsis, and finally, the episode. Then the dialogues are written and the final script appears. When the script is ready, the director draws a storyboard. It looks like a comic book: there are scene numbering, cuts, compositions in the frame and dialogues of the characters. All further production will rely on the storyboard. One of its stages is storymatic, that is, frames arranged in time, to which noises and voices of the characters are added. It can be used to judge the length of each scene and the entire episode. The animator connects when the length of the scene is already known and all the necessary objects are loaded into it. Their task, for example, is to revive emotions. All other effects - like the stirring of leaves on trees - are set as automatic parameters. In 3D, the image is immediately created three-dimensional in a special program. At the modeling stage, it is gray, and the texture and color are added later. Cartoonists have a large repository of interiors from different episodes - they do not have to be created again. If something is missing, then the production of a new object is ordered. Each of Smeshariki has its own character. They change, develop, grow and even begin to dictate the rules of the game to their creators. For ten years, the characters have learned to live their own lives. They had many educators and a very good basis, which was laid by screenwriter Alexei Lebedev. This sets the bar high for the new characters that fill out the globular family.

Denis Chernov:

“It's like being with a stranger. For a while you look closely at him, follow his reactions, preferences, habits. Over time, he becomes more understandable to you, maybe even become your friend. Such a story happened to our characters. Even at the stage of the first series, we could not know exactly how they would react to external stimuli. We put them in certain situations and looked at the reaction. It is at this moment that the magic happens: a piece of pixels does not just move, but begins to react. He is alive".

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The second full meter, “Smeshariki. The Legend of the Golden Dragon, was released on March 17. The plot and atmosphere of the film is reminiscent of a classic adventure film in the style of the Indiana Jones saga. Film screenwriter Dmitry Yakovenko says that work on the film lasted almost four years.

Dmitry Yakovenko:

“The work on the script was disgusting (laughs), because co-writing with the director (the script was written jointly with Denis Chernov - ed.) is always a challenge. The director thinks in images, pictures, and the screenwriter must cram all this into a rigid dramaturgy format. Although Denis must be given credit, he has a very good sense of the structure of the script. The theme that was chosen for the second film, on the one hand, is quite prosaic, but on the other hand, it is a strong genre movie in which the action does not sag even for a second. We were inspired by real travels. So, Denis once got lost with his wife in the jungle and wandered there for almost five hours. But in the end everything ended well. As, by the way, in our film.

Denis Chernov:

“We thought for a long time who it could be. We conferred among ourselves, discussed, argued. And then I saw a chameleon aquarium in the office. And then I immediately came up with a decision - for sure, these are chameleons! When you draw a character, it should already have some specific posture and color in it. For example, in the film, the deputy leader of the chameleon islander tribe is suspicious, sad, and therefore his color is not very healthy. It’s immediately clear that something is wrong with him.”

Dmitry Yakovenko:

“We initially perceive all the characters as ordinary people. A character, an image is invented, and then you understand what kind of animal will embody it. True, this does not always coincide with real habits. For example, our chameleons are non-standard: if in nature they are melancholic, then we have such peppy minions.

The second "Smeshariki" will be followed almost immediately by the third part, which has received the subtitle "Deja Vu" so far. Its premiere, as we were assured, is planned for next year.

Photo: Anna Schiller

An animation studio with the uninteresting name SKA Petersburg sits in a factory building on Petrogradskaya Storona. To get there, you need to say at the entrance that you are going to the Yoga Center, go past a giant brick pipe, turn into the gateway and jump over a giant puddle with a running start. Further it is already clear: a car with big blue ears on the roof is parked at the entrance.

Reception - as in an advertising agency: brick, glass doors. At the same time, free surfaces are filled with collectible Hong Kong vinyl toys - another twenty live in a niche under the ceiling. At the entrance is a replica of The Birth of Venus by Botticelli in a gilded frame, but instead of Venus there is Nyusha the pig. In the glass aquarium opposite the office of the general producer, the author of economic non-fiction about the Smeshariki phenomenon is bored - it should come out in a couple of months. In the large central room, fifty animators sit at back-to-back office desks staring at identical monitors. Everyone is wearing headphones, the room is silent, the monitors are mostly spheres, some with eyes. Printouts of character specs are pinned here and there: a reminder, underlined in red, that the Hedgehog's glasses should never bounce on, catches the eye. The animators startle a little when they are photographed, but generally react poorly to external stimuli.

“At the entrance is a replica of Botticelli in a gilded frame. Instead of Venus - pig Nyusha "

The full-length "Smeshariki" are in the very final post-production, however, as they assure me, even if I came in the midst of work, the picture would be just as phlegmatic: an emergency at the animation studio is when everyone is silently sitting at computers. The fact that a week ago there was a normal production hell can only be guessed from the tired eyes of the director of the studio, Nadezhda Kuznetsova - on the second attempt, I manage to tear her away from a telephone conversation in which Gantt charts are mentioned. To distract her from production problems, I say that in the pieces that I saw, it seems that water turned out great, which I regret almost immediately: water turns out to be a separate pride of the studio, it took a total of two and a half years to develop it. "Smesharikov. Nachalo” began to be done four years ago, and the task changed four times in the course of work - at first they wanted to make flat Smeshariki in a three-dimensional world, then - three-dimensional ones on a flat background, then - all three-dimensional ones. A year ago, after the madness with Avatar, the film was decided to be made in 3D. Each time the work started almost from the beginning.

There were 135 full-time employees at the studio, and there were 150 at the time of filming, which, according to Kuznetsova, is treacherously small for a project of this size: “I cry when I read the credits of Pixar films, they are endless - four songs have time to change. My God, where can we get so many? However, in 2004 the credits for SKA Petersburg were even shorter. “When we started, even with flash animation, we were terribly lucky. Some kind of project was magically ending at the Mill, they dismissed people and did not say when they would be returned. And eight people plus a system administrator - that's where it all started.

Like almost everyone at the studio, Kuznetsova speaks of Smeshariki as living employees: “Sometimes you go out into the corridor and it seems to you that now Karych will meet you. I even imagine how tall he is. In general, they have recently become so independent, they are beginning to taxi the director. We are terrified of waiting for the moment when they start acting up, making demands, the rider will be brought in, agents.

“An artist draws in phases, then presses a button, and... well... Let's call it joy.”

The director of the series Alexei Gorbunov, who looks melancholy even against the background of his subordinates stuck to the monitors, almost the first thing he talks about is the same: “They, of course, develop some kind of resistance over the years. You work with a character, and suddenly he doesn't let you do something. He says, "I can't do that." To my questions about the translation of Smeshariki into 3D, he grimaces a little. While the film was being made, the studio, originally designed for flash animation, was completely rebuilt from the inside, in the process they launched two new three-dimensional series, the next step is the translation of the series itself into 3D: a clip of episodes has already been made, but they are not yet shown to anyone. "Do you like it yourself?" “I won’t tell,” says Gorbunov. - No, well, there are strengths, there are difficulties. After all, Smeshariki is first and foremost a screenplay. Then thanks to the actors, then only to us. We need to work on this. In principle, I believe in the success of the project, if it is not abandoned. How to quit like that, I shudder, they are alive. “Easily. They promise all sorts of crises. One has already broken out, and where is the Pilot studio now with its “Mountain of Gems”? Gorbunov, who worked on the Paramount series Peanuts before Smeshariki, begins to scold the 2x2 channel and the general deplorable state of affairs in domestic animation: “They say Smeshariki-Smeshariki, cult, industry. But it's a disgrace to have a single children's series on a sixth of the land. Our artistic director comes from the festival, brings a catalog: France - 30 titles, Germany - 40. Russia - Smeshariki. To somehow change the subject, I ask him if he experiences that idiotic joy that adults usually have if they are forced to watch 10 episodes of Smeshariki in a row. "Of course there is. In principle, it should somehow be lost in the process, but there always comes a moment. Here the artist draws in phases, collects, then presses the button - and here it happens ... well ... Let's call it joy.

I go to look for the script department, but he is not at the studio. (“The scriptwriters live in the printer,” they explain to me. “We, in principle, will give you a phone, but they are ... quite unsociable. Very good, but unsociable”). A third of the floor is occupied by the merchandising department - with shelves filled with hundreds of Smeshariki: soft, plastic, wooden, on magnets, on springs. Related products are almost the main source of income for the studio. It has its own anti-counterfeiting service - which, however, turns out to be a room with three cute girls on their phones. One of the problems that now worries everyone is the fake life-size puppets of Krosh and Kopatych, who perform at children's parties.

Ilya Popov, the general producer of the studio, speaks over the iPad about the difficulties with the television animation market (lack of cable networks, foreign dumping, but, in principle, now it’s already better than five years ago), praises Timur Bekmambetov, who at some point joined the project as script doctor and theater distribution specialist. He says that the main strangeness and strength of Smeshariki - their fan club consists of five-year-olds and people over 30, bypassing everyone who is in the middle - somewhat slows down their otherwise triumphant march around the planet: “Marketers rule the ball there, they are not you can force us to watch 200 episodes, and it is extremely difficult to fit our idea into some digestible five-minute pitch. As a result, mostly brave people work with us. Now Nickelodeon and Viacom, which owns it, have actively taken us up - we are already going from their satellites in 17 countries. I leave the studio at the beginning of the ninth - it's already dark outside. The animators continue to sit motionless at their monitors.

The next day, I catch the director of the full-length "Smeshariki" Denis Chernov in the dressing room of the tone studio - he and the composers bring the sound to the studio. The music was recorded by the Prague Symphony Orchestra, they say it was a strong sight: gray-haired musicians were sitting, and Barash and the pig Nyusha were on the screen.

"Smeshariki" is one of the most successful animated films of our time, originally from Russia. Smeshariki has been translated into 15 languages and shown in 60 countries, including the USA, Germany, Italy, France, and the CIS countries. How did this cartoon come about? Who invented it? How and where is it made? I visited the Petersburg computer animation studio, talked to the staff and am ready to tell about everything I heard and saw.

The idea of creating Smeshariki was born more than 12 years ago. It all started with two young people, who were the artist Salavat Shaikhinurov, and with him the designer and manager Ilya Popov. They had an idea to start a Russian cartoon brand that would become popular and recognizable. They came to the animation film producer Anatoly Prokhorov, who later became the artistic director of the project. Anatoly immediately liked the guys, but he did not immediately see the potential in the cartoon. But thanks to the persistence of Salavat and Ilya, who believed in the project so much that they immediately planned to shoot 200 episodes, joint work on Smeshariki soon began. Some time later, in 2003, the first series of Smesharikov appeared, which was called "The Bench".

This was preceded by a lot of things. The premises of the first studio were located somewhere on Bakunin Street, not far from Sinopskaya Embankment. The then staff of the studio rented several rooms on the top floor. Offices worked in this building, which were engaged in the development of something top-secret, it seems, echo sounders for submarines. Severe engineers of the old school worked on this, and animators settled in one of the wings of the building. They were forbidden to hang any signs or logos with the mention of Smeshariki, because officially they were part of these very secret offices. From time to time, a commission came to the offices to carry out a strict inspection, by going around all the premises. Neighbors-engineers tried to warn the creators of the cartoon about the impending check, so that they closed everything based on cartoons and opened boring Excel spreadsheets. True, not everyone had time to do this, and the members of the commission were very surprised at the presence of funny multi-colored creatures on the screens, and, naturally, they wondered what they had to do with submarines :)

One of the meeting rooms in the modern studio:

Before the start of work on the first cartoon, the creators took as a basis two concepts that they adhere to this day. The first was that there would be no classic confrontation between good and bad among the heroes. They just live in some area, communicate, make friends, help each other and never intentionally do evil. In each episode, a problem is raised that friends solve together. The second concept is that all heroes should be rounded. The author of the first sketches of Smesharikov, Salavat Shaikhinurov, created characters in such a way that children could easily draw them on paper. The first came up with Krosh, then the Hedgehog. Around these first heroes, others began to be invented. As a result, after a while, the number of only permanent heroes grew to 20. This was not the final composition. A little later, there was a hard screening, after which the most persistent remained - the same Smeshariki, whom we see in cartoons. Around that time, Denis Chernov joined the team, invited to work in the team from the Melnitsa studio, and then took the place of the main director of the project. Here he is, in his office, telling me what I am telling you:

Workplace of Denis. Pay attention to two photos on the wall:

One of the first meetings on Smeshariki in the House of Scientists on Lesnoy Prospekt. Standing from left to right Denis Chernov (leading director), Alexey Minchenok, Ilya Maksimov, Salavat Shaikhinurov (art director), but they are sittingAlexey Lebedev (lead screenwriter),Ilya Popov (general producer) andAnatoly Prokhorov (artistic director):

Photo from the birthday of Denis Chernov. Colleagues gave Denis a surprise - they put on masks and sang the song "Lucien's Blue Mask", which was included in the first full-length cartoon.

One of the walls of Denis's office. In addition to the main cast of characters, additional characters periodically appear in cartoons:

The studio worked in the first office for about three years. Then the leadership came up with the idea of expanding. Premises were found at 34 Petrogradskaya Embankment, they made repairs and moved. This is how the Petersburg computer animation studio was born, it was March 2003. Now, in addition to Smeshariki, this studio helps to draw the cartoons "Fixies", "Chinty", "The Tree of Childhood", "Friends" and "Kotopolis". It housed not only management, artists and animators, but also a recording studio, marketing department, licensing department, mini-cinema, dining room, and even a children's room.

This is how the entrance to the studio premises looks like, which occupies the entire second and third floors of this wing of the business center. You can get here both from Chapaeva Street through the checkpoint, and from Petrogradskaya Embankment.

On the second floor there is a dining room where employees have a meal:

Guests are also invited here, including small ones:

The fact is that in addition to the dining room there is a game room with a projector and a large screen where you can watch cartoons, and the animators will entertain the children in the pauses between them:

On the second floor are all the main areas and workplaces of the studio. You have already seen the reception and corridors in the photos above. The largest area is occupied by an open-space room where specialists in creating the visual part of the cartoon work: artists, 3D modelers, animators:

How do they draw and breathe the life of the heroes of the popular cartoon? Here is a small note. Most of the Smeshariki episodes were filmed in 2D. Everything described below by me refers to the creation of a three-dimensional cartoon, which are the full-length "Smeshariki". However, the process of creating 2D and 3D cartoons has a lot in common. So, the whole process can be divided into the following stages:

- script writing
- drawing a storyboard
- recording voices in the studio
- sketches of cartoon scenes
- drawing 3D objects
- coloring and texturing objects
- arrangement of objects by location
- object animation
- Overlay special effects and lighting
- final assembly
- rendering

Script writing is the most creative part of making a cartoon. So creative that the studio does not have a dedicated workplace for the screenwriter :) The process of creating a script can take place anywhere, even at home or on vacation. The author of most of the scripts is Alexei Lebedev, a very talented person. More than 250 scripts came from his pen, including the first series of Smeshariki.

The script in a thick folder with A4 sheets (well, or in electronic form) is sent for inspection and approval to the director of the cartoon - Denis. Also, texts can go through the hands of several other participants in the overall process, for example, animators. If necessary, the director calls a meeting and discusses the details. After the script is approved, the director makes a storyboard of the future cartoon based on it. A storyboard is a sequence of drawings from which you can get a general impression of all the action in a future cartoon. This is a kind of visual illustration of the plot. In some ways, storyboards are similar to comics, with slight differences. They can be drawn roughly by hand, or they can be beautifully drawn in a graphics editor.

The next step is, oddly enough, sound recording. In feature films, the sound is recorded from the already filmed video, and in the manufacture of cartoons, the opposite is true. This is done so that the animators can use the finished sound to calculate the length of the scene and build the action on the screen. It has its own sound studio, and not only voices are recorded here, but also vocals, live instruments and various thematic sounds.

When they showed me the sound studio, they recorded the sounds of chimes (this is such a musical instrument with hanging tubes of different lengths), and a cheerful young man with an accordion stood ready at the door of the studio.

The creation of the visual part is carried out in Autodesk Maya, Foundry Nuke, Pixar RenderMan and several other less significant programs. It all starts with drawing a cartoon in a simplified form by an animator - without color, details and volume. This is a kind of storyboard visualization, done in order to simulate a future cartoon and make it easier for 3D designers and modelers to work.

Next, 3D modeling specialists start working. The first stage is drawing the contours of 3D models in the form of points and lines. The result is something gray and boring. Then the texturer starts to work, which fills the models with color, relief, shapes. After that, the drawn objects acquire recognizable features, down to the smallest detail in the form of cracks, hairs, wrinkles and other details. Modeling is used only for new objects, because, for example, most of the characters do not need to be drawn, they are taken from past series.

When the models are textured, they must be placed in the area where the action of individual scenes takes place. Such areas are called locations. If the action in the scene takes place in a forest, then the location is a forest with trees, grass, lakes, sky and other details of the surroundings.

Creating an animation of objects is perhaps the most spectacular process of all. The fact is that the tasks of the animator include the revival of cartoon characters, including facial expressions and body parts. And in order to understand what facial expressions to use, the animator must either imagine this facial expression, or try to depict it in front of a mirror. From the outside, it may seem very funny :)

At this stage, the components of the cartoon are ready. That's just some all inexpressive and too simple. This is because there is a lack of proper lighting of objects and various special effects that add realism to what is happening on the screen. This is also not an easy matter, but here computer programs help the specialist a lot, which can simulate the light and special effects themselves, if the initial data (weight, speed, direction, and others) are given.

Now it remains to connect all the components into one project, putting them in their places. This is the technical director of the project. It can also add missing special effects and lighting to shots. And when the project is ready, it goes to a miscalculation - rendering. This process is also slow and requires decent server capacities. The final rendering of a full-length cartoon takes place on a group of servers and can take several weeks. If we talk about the production time as a whole, from the script to the cartoon ready for showing, then the alignment is something like this: one 13-minute episode is made in about 5 months, and a full-length cartoon can be made for at least two years. So far, the studio has two such feature films. The first is called Smeshariki: The Beginning, which was released in the winter of 2011. The second one, Smeshariki: The Legend of the Golden Dragon, is due out in the second half of this year. This feature will be a kind of light parody of the LOST series and films about Indiana Jones and Lara Croft. Denis promised that the cartoon should turn out to be universal, you can go to it with or without children.

This is how a "piece" of the server studio looks like:

That's the whole creation process. Further, the finished cartoon begins to be distributed through a variety of distribution and demonstration channels. The most obvious channel is the sale of DVDs and Blu-ray discs for home viewing. However, due to the high level of piracy in our country, this channel is far from being the most successful. Thanks to the spread of tablets and TVs with built-in Internet access, cartoons are increasingly watched on youtube. Following the trend, Smeshariki have their own official youtube channel, which is also monetized. Full-length cartoons are shown in cinemas. There is some income from the sale of demonstration rights on Russian television, but there are some peculiarities. The fact is that in Russia the principle of selling video content to television is arranged differently. We need to shoot and sell. And abroad, television comes to understand that they need to provide airtime, say, with cartoons, and apply for this to the studio, financing its creation.

A decent source of income from the cartoon is licensing. To do this, the studio has a whole department, it deals with the licensing of goods and services in which Smeshariki are mentioned in one way or another. In addition, this department licenses several other famous cartoon "brands" such as SpongeBob, Teenage Mutant Ninja Turtles, South Park and the Russian Fixies. In other words, if you want to put four turtles on your products and sell them, you should first go here. Among the most common licensees are toys, food, clothing, utensils, and even online games.

I asked Denis a question about the fight against piracy in the form of torrent trackers and video hosting. Yes, the studio has employees who monitor trends and try to stop large cases of piracy of the studio's products. But you can't follow everything. Then he smiled and told a funny story. He once rode a train from Moscow to Odessa. The train was passing through Zhlobin railway station. This city is located on the territory of Belarus and is notable for the fact that one of the city-forming enterprises is a factory of soft toys. It seems that most of the city's population works at this factory. After this trip, Denis concluded that the factory employees were not paid wages, or they were paid with toys. Have you guessed where this idea came from? That's right, thanks to the crowds of people crowding on the platform near the trains in an attempt to sell toys. This spectacle looks funny from the outside. Imagine the train stops at the station, the platform is empty. And suddenly, after some seconds, they come out of all the cracks - sellers, just like zombies. All hung from head to toe with toys. And the toys are scary! Made from some materials that seem to glow in the dark. By curves and oblique lines, the director of the cartoon made out several Smeshariki. In general, among the counterfeit toys there were curious, and even cute specimens. Like, for example, the Krosh type, which made sounds more characteristic of RoboCop, while blinking bright LEDs. By the way, there is a shop at the studio where you can buy goods with Smeshariki, and they are definitely not fake :)

Not all employees have access to this room. Here sits the web development department, which is busy supporting the company's website, as well as creating online games based on the Smesharikov plot:

I could not miss the opportunity to look into the office of the most important person in the cartoon. It is very cozy, bright and positive here:

Under the TV in a stylish frame for pictures, in addition to the DVD player, there is a Sony PS game console:

The neighboring office is much more concise and simple. In addition, they did not find how the light turns on here:

Management encourages creativity in employees. Every year, for example, the competition "Smeshariki in classical world painting and graphics" is held. The task of the contestants is to draw a parody of the famous paintings with the participation of Smeshariki. The winners of the competition receive cash prizes, and their works are hung on the walls of the studio premises.

Look how cute it turns out:

The creators of the animated series follow how their characters travel around the world. For example, Russian cosmonauts used the Smesharik soft toy as an indicator of the onset of weightlessness after taking off into space. The toy was a gift to the astronaut from his daughter.

In 2008, Smeshariki received the State Prize of the Russian Federation in the field of culture and art, I quote, "for the socio-cultural program Smeshariki, aimed at educating the younger generation." Dmitry Medvedev himself presented the award to the creators in the Kremlin. Denis recalled that they were so worried that they even forgot to eat there. Of the significant events, Denis recalled a telegram from Vladimir Putin in which he congratulated the studio on the tenth anniversary of the animated series.

That's all I wanted to tell about Smeshariki and the place where they are born, series by series, film by film. Thanks to Denis, Anastasia, Georgy and specialists for the information for the report. I hope you liked it!

"Smeshariki" is one of the most successful animated films of our time, originally from Russia. Smeshariki has been translated into 15 languages and shown in 60 countries, including the USA, Germany, Italy, France, and the CIS countries. How did this cartoon come about? Who invented it? How and where is it made? I visited the Petersburg computer animation studio, talked with the staff and am ready to tell about everything I heard and saw.

One of the meeting rooms in the modern studio:

Before the start of work on the first cartoon, the creators took as a basis two concepts that they adhere to this day. The first was that there would be no classic confrontation between good and bad among the heroes. They just live in some area, communicate, make friends, help each other and never intentionally do evil. In each episode, a problem is raised that friends solve together. The second concept is that all heroes should be rounded. The author of the first sketches of Smesharikov, Salavat Shaikhinurov, created characters in such a way that children could easily draw them on paper. The first came up with Krosh, then the Hedgehog. Around these first heroes, others began to be invented. As a result, after a while, the number of only permanent heroes grew to 20. This was not the final composition. A little later, there was a hard screening, after which the most persistent remained - the same Smeshariki that we see in cartoons. Around that time, Denis Chernov joined the team, invited to work in the team from the Melnitsa studio, and then took the place of the main director of the project. Here he is, in his office, telling me what I am telling you:

Workplace of Denis. Pay attention to two photos on the wall:

Photo from the birthday of Denis Chernov. Colleagues arranged a surprise for Denis - they put on masks and sang the song "Lucien's Blue Mask", which was included in the first full-length cartoon.

One of the walls of Denis's office. In addition to the main cast of characters, additional characters periodically appear in cartoons:

The studio worked in the first office for about three years. Then the leadership came up with the idea of expanding. Premises were found at 34 Petrogradskaya Embankment, they made repairs and moved. So the computer animation studio "Petersburg" was born, it was March 2003. Now, in addition to Smesharikov, this studio helps to draw the cartoons "Fixies", "Chinty", "The Tree of Childhood", "Friends" and "Kotopolis". It housed not only management, artists and animators, but also a recording studio, marketing department, licensing department, mini-cinema, dining room, and even a children's room.

On the second floor there is a dining room where employees have a meal:

Guests are also invited here, including small ones:

Script writing
- storyboard drawing
- recording voices in the studio
- sketches of cartoon scenes
- drawing 3D objects
- coloring and texturing objects
- placement of objects in locations
- object animation
- Overlay special effects and lighting
- final assembly
- rendering

Script writing is the most creative part of making a cartoon. So creative that the studio does not have a dedicated workplace for the screenwriter :) The process of creating a script can take place anywhere, even at home or on vacation. The author of most of the scripts is Alexei Lebedev - a very talented person. More than 250 scripts came from his pen, including the first series of Smeshariki.

Now it remains to connect all the components into one project, putting them in their places. This is the technical director of the project. It can also add missing special effects and lighting to shots. And when the project is ready, it goes to a miscalculation - rendering. This process is also slow and requires decent server capacities. The final rendering of a full-length cartoon takes place on a group of servers and can take several weeks. If we talk about the production time as a whole, from the script to the cartoon ready for showing, then the alignment is something like this: one 13-minute episode is made in about 5 months, and a full-length cartoon can be made for at least two years. So far, the studio has two such feature films. The first is called Smeshariki: The Beginning, which was released in the winter of 2011. The second - "Smeshariki: The Legend of the Golden Dragon" - should be released in the second half of this year. This feature will be a kind of light parody of the LOST series and films about Indiana Jones and Lara Croft. Denis promised that the cartoon should turn out to be universal, you can go to it with or without children.

This is how a "piece" of the server studio looks like:

A decent article of income from the cartoon is licensing. To do this, the studio has a whole department, it deals with the licensing of goods and services in which Smeshariki are mentioned in one way or another. In addition, this department licenses several other famous cartoon "brands" such as SpongeBob, Teenage Mutant Ninja Turtles, South Park and the Russian Fixies. In other words, if you want to put four turtles on your products and sell them, you should first go here. Among the most common licensees are toys, food, clothing, utensils, and even online games.

I asked Denis a question about the fight against piracy in the form of torrent trackers and video hosting. Yes, the studio has employees who monitor trends and try to stop large cases of piracy of the studio's products. But you can't follow everything. Then he smiled and told a funny story. He once rode a train from Moscow to Odessa. The train was passing through Zhlobin railway station. This city is located on the territory of Belarus and is notable for the fact that one of the city-forming enterprises is a factory of soft toys. It seems that most of the city's population works at this factory. After this trip, Denis concluded that the factory employees were not paid wages, or they were paid with toys. Have you guessed where this idea came from? That's right, thanks to the crowds of people crowding on the platform near the trains in an attempt to sell toys. This spectacle looks funny from the outside. Imagine the train stops at the station, the platform is empty. And suddenly, after some seconds, they crawl out of all the cracks - sellers, just like zombies. All hung from head to toe with toys. And the toys are scary! Made from some materials that seem to glow in the dark. By curves and oblique lines, the director of the cartoon made out several Smeshariki. In general, among the counterfeit toys there were curious, and even cute specimens. Like, for example, the Krosh type, which made sounds more characteristic of RoboCop, while blinking bright LEDs. By the way, there is a shop at the studio where you can buy goods with Smeshariki, and they are definitely not fake :)

Not all employees have access to this room. Here sits the web development department, which is busy supporting the company's website, as well as creating online games based on the Smesharikov plot:

I could not miss the opportunity to look into the office of the most important person in the cartoon. It is very cozy, bright and positive here:

Under the TV in a stylish frame for pictures, in addition to the DVD player, there is a Sony PS game console:

The neighboring office is much more concise and simple. In addition, they did not find how the light turns on here:

Look how cute it turns out:

"Smeshariki" is one of the most successful animated films of our time, originally from Russia. "Smeshariki" translated ...

(46 photos and 1 video)

5. This was preceded by a lot of things. The premises of the first studio were located somewhere on Bakunin Street, not far from Sinopskaya Embankment. The then staff of the studio rented several rooms on the top floor. Offices worked in this building, which were engaged in the development of something top-secret, it seems, echo sounders for submarines. Severe engineers of the old school worked on this, and animators settled in one of the wings of the building. They were forbidden to hang any signs or logos with the mention of Smeshariki, because officially they were part of these very secret offices. From time to time, a commission came to the offices to carry out a strict inspection, by going around all the premises. Neighbors-engineers tried to warn the creators of the cartoon about the impending check, so that they closed everything based on cartoons and opened boring Excel spreadsheets. True, not everyone had time to do this, and the members of the commission were very surprised at the presence of funny multi-colored creatures on the screens, and, naturally, wondered what they had to do with submarines

One of the meeting rooms in the modern studio:

6. Prior to the start of work on the first cartoon, the creators took as a basis two concepts that they adhere to this day. The first was that there would be no classic confrontation between good and bad among the heroes. They just live in some area, communicate, make friends, help each other and never intentionally do evil. In each episode, a problem is raised that friends solve together. The second concept is that all heroes should be rounded. The author of the first sketches of Smesharikov, Salavat Shaikhinurov, created characters in such a way that children could easily draw them on paper. The first came up with Krosh, then the Hedgehog. Around these first heroes, others began to be invented. As a result, after a while, the number of only permanent heroes grew to 20. This was not the final composition. A little later, there was a hard screening, after which the most persistent remained - the same Smeshariki that we see in cartoons. Around that time, Denis Chernov joined the team, invited to work in the team from the Melnitsa studio, and then took the place of the main director of the project. Here he is, in his office, telling me what I am telling you:

7. Denis' workplace. Pay attention to two photos on the wall:

8. One of the first meetings on Smeshariki in the house of scientists on Lesnoy Prospekt. From left to right are Denis Chernov (lead director), Alexei Minchenok, Ilya Maksimov, Salavat Shaikhinurov (art director), while Alexei Lebedev (lead screenwriter), Ilya Popov (general producer) and Anatoly Prokhorov (artistic director) are seated:

9. Photo from the birthday of Denis Chernov. Colleagues gave Denis a surprise - they put on masks and sang the song "Lucien's Blue Mask", which was included in the first full-length cartoon.

10. One of the walls of Denis's office. In addition to the main cast of characters, additional characters periodically appear in cartoons:

11. The studio worked in the first office for about three years. Then the leadership came up with the idea of expanding. Premises were found at 34 Petrogradskaya Embankment, they made repairs and moved. This is how the Petersburg computer animation studio was born, it was March 2003. Now, in addition to Smeshariki, this studio helps to draw the cartoons "Fixies", "Chinty", "The Tree of Childhood", "Friends" and "Kotopolis". It housed not only management, artists and animators, but also a recording studio, marketing department, licensing department, mini-cinema, dining room, and even a children's room.

12. A dining room was placed on the second floor, where employees eat

13. Guests are also invited here, including small ones.

14. The fact is that in addition to the dining room, there is a game room with a projector and a large screen where you can watch cartoons, and animators will entertain children in the pauses between them:

15. On the second floor are all the main areas and workplaces of the studio. You have already seen the reception and corridors in the photos above. The largest area is occupied by an open-space room where specialists in creating the visual part of the cartoon work: artists, 3D modelers, animators:

20. How do you draw and breathe life into the characters of a popular cartoon? Here is a small note. Most of the Smeshariki episodes were filmed in 2D. Everything described below by me refers to the creation of a three-dimensional cartoon, which are the full-length "Smeshariki". However, the process of creating 2D and 3D cartoons has a lot in common. So, the whole process can be divided into the following stages:

Script writing is the most creative part of making a cartoon. So creative that the studio does not have a dedicated workplace for the screenwriter

The script birth process can take place anywhere, even at home or on vacation. The author of most of the scripts is Alexei Lebedev, a very talented person. More than 250 scripts came from his pen, including the first series of Smeshariki.

21. The next step is, oddly enough, sound recording. In feature films, the sound is recorded from the already filmed video, and in the manufacture of cartoons, the opposite is true. This is done so that the animators can use the finished sound to calculate the length of the scene and build the action on the screen. It has its own sound studio, and not only voices are recorded here, but also vocals, live instruments and various thematic sounds.

22. When they showed me the sound studio, they recorded the sounds of chimes (this is such a musical instrument with hanging tubes of different lengths), and a cheerful young man with an accordion stood ready at the door of the studio.

23. The creation of the visual part is carried out in Autodesk Maya, Foundry Nuke, Pixar RenderMan and several other less significant programs. It all starts with drawing a cartoon in a simplified form by an animator - without color, details and volume. This is a kind of storyboard visualization, done in order to simulate a future cartoon and make it easier for 3D designers and modelers to work.

24. Next, experts in three-dimensional modeling begin to work. The first stage is drawing the contours of 3D models in the form of points and lines. The result is something gray and boring. Then the texturer starts to work, which fills the models with color, relief, shapes. After that, the drawn objects acquire recognizable features, down to the smallest detail in the form of cracks, hairs, wrinkles and other details. Modeling is used only for new objects, because, for example, most of the characters do not need to be drawn, they are taken from past series.

26. When the models are textured, they must be placed in the area where the action of individual scenes takes place. Such areas are called locations. If the action in the scene takes place in a forest, then the location is a forest with trees, grass, lakes, sky and other details of the surroundings.

27. Creating an animation of objects is perhaps the most spectacular process of all. The fact is that the tasks of the animator include the revival of cartoon characters, including facial expressions and body parts. And in order to understand what facial expressions to use, the animator must either imagine this facial expression, or try to depict it in front of a mirror. From the outside, this may seem very funny.

29. At this stage, the components of the cartoon are ready. That's just some all inexpressive and too simple. This is because there is a lack of proper lighting of objects and various special effects that add realism to what is happening on the screen. This is also not an easy matter, but here computer programs help the specialist a lot, which can simulate the light and special effects themselves, if the initial data (weight, speed, direction, and others) are given.

30. Now it remains to connect all the components into one project, placing them in their places. This is the technical director of the project. It can also add missing special effects and lighting to shots. And when the project is ready, it goes to a miscalculation - rendering. This process is also slow and requires decent server capacities. The final rendering of a full-length cartoon takes place on a group of servers and can take several weeks. If we talk about the production time as a whole, from the script to the cartoon ready for showing, then the alignment is something like this: one 13-minute episode is made in about 5 months, and a full-length cartoon can be made for at least two years. So far, the studio has two such feature films. The first is called Smeshariki: The Beginning, which was released in the winter of 2011. The second - "Smeshariki: The Legend of the Golden Dragon" - should be released in the second half of this year. This feature will be a kind of light parody of the LOST series and films about Indiana Jones and Lara Croft. Denis promised that the cartoon should turn out to be universal, you can go to it with or without children.

This is how a "piece" of the server studio looks like:

31. That's the whole process of creation. Further, the finished cartoon begins to be distributed through a variety of distribution and demonstration channels. The most obvious channel is the sale of DVDs and Blu-ray discs for home viewing. However, due to the high level of piracy in our country, this channel is far from being the most successful. Thanks to the spread of tablets and TVs with built-in Internet access, cartoons are increasingly watched on youtube. Following the trend, Smeshariki has its own official youtube channel, which is also monetized. Full-length cartoons are shown in cinemas. There is some income from the sale of demonstration rights on Russian television, but there are some peculiarities. The fact is that in Russia the principle of selling video content to television is arranged differently. We need to shoot and sell. And abroad, television comes to understand that they need to provide airtime, say, with cartoons, and apply for this to the studio, financing its creation.

32. A decent source of income from the cartoon is licensing. To do this, the studio has a whole department, it deals with the licensing of goods and services in which Smeshariki are mentioned in one way or another. In addition, this department licenses several other famous cartoon "brands" such as SpongeBob, Teenage Mutant Ninja Turtles, South Park and the Russian Fixies. In other words, if you want to put four turtles on your products and sell them, you should first go here. Among the most common licensees are toys, food, clothing, utensils, and even online games.

34. Asked Denis a question about the fight against piracy in the form of torrent trackers and video hosting. Yes, the studio has employees who monitor trends and try to stop large cases of piracy of the studio's products. But you can't follow everything. Then he smiled and told a funny story. He once rode a train from Moscow to Odessa. The train was passing through Zhlobin railway station. This city is located on the territory of Belarus and is notable for the fact that one of the city-forming enterprises is a factory of soft toys. It seems that most of the city's population works at this factory. After this trip, Denis concluded that the factory employees were not paid wages, or they were paid with toys. Have you guessed where this idea came from? That's right, thanks to the crowds of people crowding on the platform near the trains in an attempt to sell toys. This spectacle looks funny from the outside. Imagine the train stops at the station, the platform is empty. And suddenly, after some seconds, they crawl out of all the cracks - sellers, just like zombies. All hung from head to toe with toys. And the toys are scary! Made from some materials that seem to glow in the dark. By curves and oblique lines, the director of the cartoon made out several Smeshariki. In general, among the counterfeit toys there were curious, and even cute specimens. Like, for example, the Krosh type, which made sounds more characteristic of RoboCop, while blinking bright LEDs. By the way, the studio has a shop where you can buy goods with Smeshariki, and they are definitely not fake.