‘The Angry Birds Movie 3’ Unpacked by VFX Supervisor, Including Red’s Redesign and Character-Effects Automation: ’He’s Similar by Choice’

‘The Angry Birds Movie 3’ Unpacked by VFX Supervisor, Including Red’s Redesign and Character-Effects Automation: ’He’s Similar by Choice’ hakkında magazin dünyasında yaşanan en son ayrıntılar ve sıcak gelişmeler netleşti. Oct 17, 2026 6:56am PT ‘The Angry Birds Movie 3’ Unpacked by VFX Supervisor, Including Red’s Redesign and Character-Effects Automation: ’He’s Similar by Choice’ DNEG Animation rebuilt the franchise’s characters while developing a workflow capable of automating character effects on up to 75% of shots, VFX head Patrick Harboun said at a View Conference presentation in Turin By Davide Abbatescianni Plus Icon Davide Abbatescianni Latest ‘Toy Story 5’ Co-Director Kenna Harris on Going From Jessie Superfan to Pixar Filmmaker — and the Two-Week Rewrite That Reshaped the Sequel 1 day ago ‘The Mandalorian and Grogu’ VFX Veteran Hal Hickel on Rotta’s Redesign, Phil Tippett and Jon Favreau’s ‘Less James Bond, More Jackass’ Approach 1 day ago ‘Spider-Man: Brand New Day’ VFX Boss Jerome Chen on Hulk’s Redesign, Finishing 445 Shots in a Week 2 days ago See All Add us as a Google Preferred Source Comments The red-feathered hero of “ The Angry Birds Movie 3 ” looks reassuringly familiar, but DNEG Animation had to rebuild much of him to bring the franchise back to theaters. And as the studio reconstructed Red’s fur, facial rig and expressions, it also developed a system that ultimately automated character-effects work on roughly 75% of the film’s shots.

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“He’s similar by choice,” VFX supervisor Patrick Harboun said at View Conference in Turin on Friday. Related Stories Disney Makes More Job Cuts, Laying Off a Few Hundred Employees Golden Goose Teams With Disney for Mickey Mouse-Inspired Sneakers, Apparel and Global Customization Tour The upcoming Paramount release, directed by John Rice, reunites Jason Sudeikis’ Red with Silver, voiced by Rachel Bloom, as they navigate parenthood alongside their latest adventure.

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DNEG takes over animation duties from the Sony Pictures Animation productions behind the first two films. Popular on Variety The technical handover was anything but straightforward.

In fact, proprietary grooming, rigging and surfacing tools used on the predecessors could not simply be transferred to DNEG’s pipeline. “We had to start from this.

A plucked chicken version of Red,” Harboun joked, displaying a bare digital model. Even its underlying geometry needed reworking before the team could reconstruct its feathers.

The result deliberately avoided a radical makeover. Red’s plumage became slightly softer, while his eyes and beak gained firmer, more toy-like surfaces.

“Once an IP becomes popular, it kind of belongs to the fans, and we have to respect that,” Harboun said. “We can’t just add our own spin just to give our mark.” The studio scrutinized the earlier movies frame by frame.

“We analyzed the past movies to find the unwritten rules of animation,” he explained. Animators cataloged the angles of Red’s beak, the geometry of his narrowed eyes and the boundaries beyond which a stretched expression stopped feeling like Red.

The lessons became a style guide and a reusable library of facial expressions. There was more room for experimentation with over 20 new characters, including Red and Silver’s children: aspiring athlete Glider, voiced by Walker Scobell; temperamental June, played by Emma Myers; and baby Olly, voiced by Psalm West.

The family also has a pet spider named Fuzzy, voiced by James Austin Johnson. “The goal was to make a spider that even an arachnophobe would love,” Harboun said.

Olly created a distinctive technical challenge because his glasses effectively serve as animated eyes, complete with moving eyelids and brows.

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