Back in the old days, when an animator had trouble visualizing what a particular prop and/or problematic character looked like from a certain angle … Well, the usual solution to this problem was that that artist then had to construct a model. So that they could then literally see things from a different angle. Spin that model around to see how that prop or figure looked when it occupied three dimensional space.
Here are two examples of models that were made by the sculptors who worked in Disney’s Character Model Department back in the mid-1930s. With the hope that these three dimensional pieces would then make a little easier for the animators who were working on “Pinocchio.” This is a scale model of the stagecoach & team of sad little donkeys that are used to collect all of the stupid & lazy boys who want to go to Pleasure Island.
Copyright Disney Enterprises, LLC
And this (as you have probably already guessed) is a three dimensional recreation of Monstro the Whale that was built during the pre-production phase of that classic Disney animated feature.
Copyright Disney Enterprises, LLC
Of course, now that animators work on computers, when virtually any object can be rendered in perfect perspective with just a few keystrokes, there’s no need for models … Right ?
Guess again, friend. These days, artists & animators still sometimes have problems visualized what a particular setting looks like. Or how a building appears from a specific angle.
Take — for example — the “Shrek the Third” production team. Which was having trouble coming up with new ways to stage scenes at King Harold & Queen Lillian’s castle in Far Far Away. Which is when they turned to PDI / DreamWorks Animation visual development artist Cundo Rabaudi for help. And he then created this beautiful three dimensional version of that fairy tale castle.
Photo courtesy of PDI / DreamWorks
Which looks like it would be an arduous undertaking. But truth be told, model making has always come easy for Cundo. But that may be because of the many hours that he spent indoors as a child.
“I lived in upstate New York, where you really can’t go outside for half of the year,” Rabaudi recalled. “So — to kill time — I’d work on model kits. Model cars, model planes. Whatever I could get my hands on.”
And even from an early age, assembling those Aurora model kits of famous film monsters like Godzilla, Cundo showed a real aptitude for this craft. Of course, that may have been because Rabaudi’s grandfather was a model maker himself and his great-grandfather built model ships.
Cundo continued this hobby well into his late teens and twenties. But then — when it came time to chose a career — Rabaudi opted for culinary school. Heading out to San Francisco to learn a trade because … Well, who could ever earn a living by building models ?
Well, as it turns out, Cundo was about to find out. For — one night — a member of Henry Selick‘s production team dropped by Rabaudi’s apartment and saw his incredible collection of models. After noting the incredible attention to detail, the obvious care Cundo used in assembling each kit, this film-maker turned to the would-be cook and said: “You know, I could probably get you a job on the movie that I’m working on now.”
Visual Development Model Maker Cundo Rabaudi
Photo courtesy of PDI / DreamWorks
“And what film was that ?,” you ask. “Tim Burton’s The Nightmare Before Christmas.”
Rabaudi started out as a lowly character fabricator on that Henry Selick film. He also painted some of the sets that were used for this cult classic. And then from there … Cundo just found himself sucked into the world of stop motion animation. Working on big budget studio films like “James and the Giant Peach” and “Starship Troopers” as well as little Saturday morning shows like ABC‘s “Bump in the Night.” Not to mention TV commercials for places like Pizza Hut.
But as much as he enjoyed seeing animation that he worked on up there on the big screen, it was the model-making aspect of movie production that had the strongest appeal to Rabaudi. Which is why — in 1996 — when he heard that art director John Bell was looking for someone to build a few concept models for “Antz,” Cundo immediately jumped at this chance to join the PDI / DreamWorks Animation production team.
“I basically created my own position,” Rabaudi remembered. “My job was to create these highly detailed reference models for the matte department. So that they’d then know what to do with the film’s backgrounds. From there, I graduated to building miniature versions of the props & settings for the various other projects that PDI / DreamWorks had in the works. Which then help the animators and technicians plan out camera moves and/or stage new bits of business that would then make the most of a particular setting.”
And Cundo’s models were particularly helpful when it came to working on “Shrek the Third.” You see, even though this sequel obviously featured a number of settings that had already appeared in “Shrek” and “Shrek II,” the folks at PDI / DreamWorks made a point of expanding this ogre’s turf to include a new circular stone pier.
Photo courtesy of PDI / DreamWorks
Which is where Puss in Boots says “Good-bye” to the many fine felines that he has met during his stay in Far Far Away.
Copyright 2007 DreamWorks Animation
And — in the background of the above photo — you may notice a large wooden sailing ship.
Photo courtesy of PDI / DreamWorks
Well, this is the vessel that Shrek, Donkey and Puss will take as they voyage north on a most vital mission.
Copyright 2007 DreamWorks Animation
You see, our three heroes are headed to Worcestershire Academy. That oh-so-exclusive school for the fairy tale elite …
Photo courtesy of PDI / DreamWorks
… Where they hope to find Fiona’s cousin, Artie. Who is now Far Far Away’s rightful heir to the throne.
Copyright 2007 DreamWorks Animation
But — of course — as happens with all the “Shrek” films, things don’t go quite according to plan. Instead of heading straight back home, the ogre and his traveling companions wind up taking a side trip to this rather humble dwelling.
Photo courtesy of PDI / DreamWorks
Which is where Artie’s old schoolmaster, Merlin the magician now lives.
Copyright 2007 DreamWorks Animation
Meanwhile, back at the castle, things aren’t going all that smoothly either. Fiona and her mother find themselves locked in the dungeon …
Photo courtesy of PDI / DreamWorks
… With only (L to R) Sleeping Beauty, Cinderella and Snow White for company.
Copyright 2007 DreamWorks Animation
“Wait a minute !,” you say. “How did Fiona and all those princesses wind up being locked up in Far Far Away’s dungeon ?” Sorry. To get the answer to that question, you’re going to have to buy a ticket for “Shrek the Third.” Which opens in theaters nationwide this Friday.
Copyright 2007 DreamWorks Animation
As for Cundo’s contribution to the third film in the “Shrek” series … You know, what’s kind of ironic about all this is that — in spite of the hundreds of hours that Rabaudi puts into the creation of these elaborate reference models — none of his work actually appears in the finished films.
I mean, sure. These models do serve as the inspiration for all the artists, animators and technicians who actually work on these movies. And typically — just prior to the release of PDI / DreamWorks’ latest production — one or two of Cundo’s creations will then be placed on display at the Glendale campus. So that visitors to this animation studio can then “Oooh” and “Aaah” at Rabaudi’s amazingly detailed work.
But this time around, the folks at DreamWorks decided to do something different. They wanted to make sure that it wasn’t just studio insiders who got to appreciate Cundo’s artistry. Which is why they made arrangements to have three of the models featured in today’s article — King Harold & Queen Lillian’s castle. Worcestershire Academy and Shrek’s boat — put on public display.
Soooo … If you’re out in Hollywood this summer (To be specific: This Thursday through early June) and want to personally take a closer look at Rabaudi’s handiwork, be sure and swing by the ArcLight Cinemas. Where this trio of models will be on display in the lobby.
Which is kind of cool, don’t you think ? I mean, Cundo’s models still didn’t make it into the actual “Shrek the Third” movie. But — this time around, anyway — they at least got as far as the lobby.
All joking aside … Doing all of this great behind-the-scenes work on an animated feature, only to have absolutely none of your enormous effort wind up in the finished film … That might frustrate a lesser craftsman. But not Cundo Rabaudi. As he puts it:
“Who wouldn’t want a job like mine ? Where you get to go into work and then do what you loved back when you were a kid ? Which is build models all day ? I’m the luckiest person in the world.”
FYI: If you enjoyed those “Pinocchio” models that you saw toward the very top of today’s profile, Animated Views has this great article in its archives about the exhibit that those particular pieces were featured in. So do yourself a favor and go check this story out.