For visual effects house MPC, Pikachu stood as the ultimate thesis for its approach to designing the world of Pokémon for Detective Pikachu. Gizmodo recently spoke to MPC VFX supervisor Pete Dionne about his work on Detective Pikachu, and the particular challenges behind bringing the most vital Pokémon to life.
Detective Pikachu’s adorably weird approach to the world of Pokémon was a risky gamble – but it would’ve fallen apart if its titular hero didn’t work. For MPC, that meant one of the biggest tasks of the whole movie was making one of the most iconic characters of all time lifelike in a whole new way.
“Being the most recognisable and iconic Pokémon, and character designs, in the last few decades, he was probably the most difficult character [to get right] from the point of, ‘How much do we bend his design before he no longer looks like Pikachu?’,” Dionne told us. “Other characters, there’s a little more leeway poking through than with Pikachu – the slightest deviation from the original TV design and he stopped looking like Pikachu. Knowing that we’re throwing fur on him and putting Ryan Reynolds’ snarky personality in him, how were we going to find the balance?”
MPC started with a mandate it never wavered from while breaking down Pikachu’s design. “It became really clear that we needed to embrace every single aspect of that design, the original 2D design, as possible,” Dionne revealed. “So, as we were designing him, we started with just the silhouette of Pikachu, and fundamentally, we chose no matter what we come up with, we’re not going to change the silhouette. From the very beginning of our process, building him out, we were always comparing him against that original design.”
Once MPC established that Pikachu’s silhouette couldn’t change, Dionne and his team turned to the animal kingdom for inspiration from the ground up – right down to his musculature and bones.
“We did research into animal anatomy – I think it was a bushbaby, or a lemur. We took their skeletal system and stuck it into the body of Pikachu and started changing proportions. Along with the muscle system inside, as well,” Dionne said of the early process. “We just started looking at all these different animals. “What kind of animal could exist within this [silhouette]?” Like, physically, within this form. And then we came up with something we were happy with, like, ‘This could exist, this could make it through the night in the real world as an animal.’”
Once Pikachu had a body that made sense in the world of Detective Pikachu, the team faced another tough question that arose from familiarity with his design as a flat, 2D creature for the best part of two decades. “In surfacing, there was a debate whether Pikachu had fur or not,” Dionne said, once again turning to real-world animals as a source of inspiration. “We went back and forth, trying versions with him, starting with the process of, ‘What is the cutest furred animal we can come up with?’ So we started referencing that – fluffy bunnies and kittens – and we started adding the fur on top of Pikachu.”
"There was a debate whether Pikachu had fur or not."
It wasn’t just a case of whether Pikachu had fur or not though – the exact nature of the fur in order to properly emphasise his trademark cuteness was a major factor. “[We started] paying really close attention to, ‘What makes this kitten look so fluffy and cute and adorable, compared to this other kitten that looks coarse and rugged?’,” Dionne continued. “And [we] built little fine details into the quality of the fur and flow and distribution in certain regions of its body. We really tried to pay special attention to that.”
And that attention applied everywhere – even when it brushed up against the rest of Detective Pikachu’s approach to realistic design. “[The] anatomy on the inside of ears, you know, there’s no way to make that look adorable,” Dionne joked. “So, we embraced Pikachu’s lack of an ear cavity and groomed it with a fuzzy fur you’d expect to come out of a bunny’s ear, where a cavity would be – so it still implies, without having any details that break the adorableness of it.”
Those debates continued throughout the process, not just for how Pikachu would look, but how he’d walk the walk and talk the, uh, Pokétalk. “We’re going through this process, as well as motion studies about how well he moves through the environment,” Dionne said of the other side of designing Pikachu’s model. Once again, real animals that had first inspired Pikachu’s underlying skeletal structure provided a reference point. “We went through and looked at upright quadrupeds navigating on two feet and how steady and unsteady they are,” Dionne continued. “What are their physical limitations? So we started talking about how to make Pikachu move around his environment upright throughout the majority of the film, but still make him feel like a quadruped. [When] we got to that place we felt pretty confident.”
For all MPC could pour into making its Pikachu move and look like a realistic version of the classic design, the team still had another issue to contend with: They were designing a motion-capture creature for a star that had yet to be cast. “The biggest challenge, though, was getting Ryan Reynolds’ facial performance in the Pikachu,” Dionne said of the design process. “Interestingly, one of the things that was great was, early on in the process before Ryan was cast, when we were initially building our Pikachu, we were at the point where we built an additional facial rig, and we wanted to start exploring this against an actor and see what we could learn from it,” Dionne said. “So, we got the list of all the actors being considered and grabbed clips of them on YouTube and started animating our Pikachu to all those different actors.”
It’s a good thing Reynolds eventually agreed to the role, according to Dionne – because tests with his footage provided the perfect canvas for Pikachu. “Amazingly, Ryan Reynolds stood out among the bunch because a lot of the other actors had big, gestural performances in their face and body, and Ryan – he’s so dry,” Dionne revealed. “It’s that little cock of the eyebrow or that little smirk as his lip rolls up, that conveys so much expression and character. And so, what was great about Ryan from a facial performance point of view – we were really able to have a constrained performance and not contend with anything that was too big and over the top, which becomes cartoony very quickly. It was a gift having Ryan as Pikachu because right from the get-go, his face translated quite well.”
As good as Reynolds was to work from, however, another problem arose when trying to incorporate human facial capture animations and Pikachu’s finalised design. “To actually capture what’s fun about Ryan’s performance and have the face still look like Pikachu – that’s another problem,” Dionne said. The team at MPC found very quickly that too much of Reynolds’ performance broke Pikachu’s “feel” as a working design. “Any time we started articulating the face like a human’s – with human anatomy and expressions – it didn’t look like Pikachu at all,” Dionne noted.
"It’s that little cock of the eyebrow or that little smirk as his lip rolls up, that conveys so much expression and character."
There was an unconventional solution however, according to Dionne, to act as a bridge between Reynolds and Pikachu. “What we did was build Pikachu’s facial rig with underlying anatomy and muscle structure as a feline, like a cat,” Dionne told us. “Using that as our base, we mounted a headcam on Ryan, and ran him through an entire facial expression workout. There are pretty much 80 different facial expressions – we’d just get him to do [those] poses, and from them, we’d have a library of all his individual expressions. Then we did the same thing for Pikachu, using 2D animation.”
Pikachu might be incredibly expressive, but in the games and anime he doesn’t have anywhere near as many facial expressions as a human does. “We kind of came up with the equivalent, which is funny, because with Ryan, every one of 80 poses is different from the next. Pikachu, he only has six or seven poses,” Dionne said of Pikachu’s time in the expression workout. “If he’s happy, his mouth is a ‘W’ and if he’s sad, it’s an upside-down ‘V’. Even beyond his mouth, his upper brow tucks into his eyes, which does all the heavy lifting. There’s not a lot to work with. But that’s what Pikachu is, and that’s what we needed to embrace. So, we just kind of built up an equivalent library of Pikachu doing all these different expressions. Then we were able to kind of cross reference and build our library of CG Pikachu [expressions].”
Then came the toughest part of the whole endeavour, according to Dionne. “How do we find a really calculated compromise between the two,” the VFX supervisor pondered, “so that we can capture the nuance in Ryan, but never break the design of Pikachu’s face?”
The answer, in the end, was actually a more hands-on approach to animating the Pokémon, instead of solely relying on motion capture. “As Ryan was performing for the film, every time he’s performing, he would have that head-mounted camera capturing his performance,” Dionne said. “For technical reasons, it wasn’t that beneficial to use that technical data explicitly to draw out that performance. We found we got more out of it if we just took that captured performance, and an animator would use that side-by-side as a footpath with the facial performance, driven by Ryan’s face.”
A little less Ryan Reynolds, and a little more Pikachu – but 100 per cent adorable.
Featured image: Warner Bros./Legendary