• 01 Apr 21
  • Posted by alexal
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NOITOM IN MOTION EP.1 Stefano Critelli | Flat Parioli

#NoitomInMotion is a new series dedicated to highlighting amazing creators and studios who are using Perception Neuron. 

We want to share stories and and learn about what set them and others on their respective paths. 

Make sure to follow along and tag us in your work for an opportunity to be featured as well. 

For episode 1, we speak with Stefano Critelli.



1. What inspired you to enter the animation/VFX industry?

Jurassic Park (1993) and Toy Story (1995) were probably the two movies that inspired me most.

It is thanks to these two masterpieces that, since I was a child, I started dreaming of working in the vfx/animation world I did everything I could to turn that dream into reality.

For example, I remember that when I was a kid I had the entire dinosaurs action figures collection, and after school, I used to spend whole afternoons studying them in every detail, I tried to draw them, to reproduce them with the artistic tools i had at that time (I was like 12/13 years old), and I enjoyed that much creating imaginary stories and adventures with them. The same thing obviously happened when the first toy story came out. It is probably thanks to the enormous impact these two films had during my childhood that today I love both the fields (animation and visual effects)


2. How has mocap with Perception Neuron changed your work process?

Perception Neuron was a wonderful discovery.

As you can imagine, in Italy there are still no visual effects studies as large and powerful as those in the US, Canada, UK, Asia or the UK, to name a few. The excellent quality / price ratio Perception Neuron Motion Capture System allowed a small cgi team (what we where at that time) to make a movie with more than 70 shots with crowd simulation and within a very strict and short deadline.

We didn’t have to hire dozens of animators and we didn’t have at that time an internal rigging department too. We made all the animations for the crowd actors through the Perception Neuron motion capture system, and that process was a pretty straightforward and fast one.

3. What project are you most proud of and why?


Fatima (directed by Marco Pontecorvo) is probably the project I'm most proud of. It was really challenging to make full CG shots (like the demon’s ones) and such a huge amount of crowd shots with such a small team and in just 4 months of work.

We would never have done it without such an exceptional team of artists and thanks to Flat Parioli who allowed us to invest in R&D and therefore to discover and use Perception Neuron.




4. What are you currently working on?

I’ve been recently working as a 3d Character Modeller/Texture Artist at BlueZoo Animation Studio and previously I had the pleasure to work as 3d Asset Supervisor at Arx Anima for an animation feature film (not out yet).


5. Choose one word in English or your native language that is important to you and explain why?

Probably the most important word for me is Passion (“Passione” in Italian). I believe that for those who work in the visual effects/animation field it is vital to be passionate about their job.

Passion is the driving force that pushes artists to always give their best in what they produce, the strength that pushes them to overcome difficult moments and exhausting shifts, the motivation that drives them to continually study and improve their technical skills to achieve always better artistic results.





Credits:

Vfx Studio: Flat Parioli (Website - Instagram - LinkedIn)
Pasquale Di Viccaro: VFX Supervisor
Daniele Pellegrini: Technical Director, Pipeline Supervisor
Stefano Critelli: CGI Supervisor (Linkedin - Artstation - Instagram)
Gareth Stevenson: Crowd TD
Giacomo Pierpaoli: Lead Texture Artist
Fabio Laudicina: Lead FX and CFX
Demetrio Tripodi: Fx artist
Alessandro Clener: 3D Generalist
Ebe Paciocco: Junior 3D Modeller/Texture Artist