Meet the robinsons characters bowler hat guy

Christopher Lucas. Long before David Letterman made it a nightly ritual, groupings of ten seemed to be the most common form of list making commandments, amendments, FBI most wanted, etc. Top 10 lists abound for everything today, from movies and music to sports and politics. From Walt himself and the beginning of his company, to his successors who have broadened the reach of the Disney brand well beyond where even Walt could have imagined it, this book will cover every aspect of the 93 years of history that Disney has to offer. In it you will find information on everything from Oswald the Lucky Rabbit and Queen Elsa, to the billion dollar acquisitions of Marvel and Lucasfilm. Written for casual and die-hard fans alike, The Top Top Ten of Disney will revisit some familiar characters, films, songs, rides, and personalities associated with Disney but will also uncover some forgotten, obscure and overlooked parts of the company as well, such as the unlikely Disney films Victory Through Air Power and The Story of Menstruation

SEE VIDEO BY TOPIC: Bowler Hat Guy's Redemption

Content:

• Future looks familiar in ‘Robinsons’
• Meet The Robinsons, Stephen Anderson
• Stephen J. Anderson: Bowler Hat Guy, Grandpa Bud, Tallulah
• Meet the Robinsons
• Meet the Robinsons (United States, 2007)
• Meeting Wilbur, the Bowler Hat Guy and Lewis in Adventureland
• Michael "Goob" Yagoobian
• Fast Forward
• screenrant.com

SEE VIDEO BY TOPIC: Goob

Future looks familiar in ‘Robinsons’

In the movie, Lewis, an orphaned boy and brilliant inventor, wants to find his birth mother. He hopes that his latest invention, a memory scanner, will help. But, a scoundrel wearing an evil bowler hat, named Doris , steals the invention. When Lewis nearly gives up hope, Wilbur Robinson appears out of nowhere, whisks him into the future to look for the Bowler Hat Guy, and introduces Lewis to the wacky Robinson family.

In the studio, the artists who created Chicken Little rolled from that film straight onto this one. When she joined the project, director Stephen J. Anderson had already boarded the entire movie and it was up on reels. The theme of letting go of the past and looking to the future came from my experiences. When Mark Hammel, technical supervisor for Meet the Robinsons, evaluated the future for the crew assigned to create the film, one thing stood out.

With no time to make big changes to the pipeline, which might have altered a familiar workflow, the technical team looked for other ways to improve efficiency. For Meet the Robinsons, the technical staff developed a proprietary 3D paint system.

And then, they unified all three tools. For Robinsons, look development artists used XGen to grow hair and grass, sprinkle pebbles and dirt on a rooftop, stain sidewalks, and more. The crew even used it to sculpt topiaries and to plant trees.

Shader expressions, the second tool in the new unified look development system, allowed artists to create procedural expressions on their own without writing procedural shaders. As a result, artists working in the 3D paint system could use the expressions, for example, to generate a texture map with a pattern and then, using the same language, create expressions in XGen to drive the twisting and drooping parameters for hair or leaves.

There are three primary characters in the film—Lewis, Wilbur, and the Bowler Hat Guy—but there are dozens of secondary characters such as the Robinson family, the dinosaur, and Carl the robot, as well as crowds of schoolchildren and other background characters.

With many characters and little time, the crew developed techniques and tools to prepare the characters quickly for animation and rendering, starting with the models.

All the characters, except for two who needed more facial detail, the Bowler Hat Guy and Grandpa, have the same topology—the same underlying geometry with the same number of points and the same ordering.

We could transfer blendshapes from character to character and weights for the facial setup, and lookdev could transfer weight maps and UV maps for texturing.

For facial animation, Disney animators used a composite of blendshapes and deformers. The goal was never to have a dead spot on the face. We tried to push it as much as we could to make the characters more believable and fleshy.

With this tool, character riggers created a template that became a starting point for rigging different characters with similar characteristics. For this process, the cloth-animation team printed the characters in different poses, animators drew wrinkles onto those poses, and then riggers and modelers worked together to paint texture maps that defined the wrinkles. Thus, Shar-Pei made it possible for the animators to see the final wrinkled silhouette.

Disney had designed its Maya-based hair system primarily for furry characters, not for human characters. XGen handled the instancing—that is, grew the hair. So, sometimes we control color and density with texture maps, and sometimes we like to use expressions to get a look or hair behavior we like.

We hop back and forth. Fading the opacity at the hair tips and making every hair slightly transparent helped add a sense of depth, and the transparency enhanced the backlighting. Lewis moves back and forth between the present and the future, so the environments for each needed to be distinct and instantly recognizable, but not so dissimilar that it looked like he occupied two different films.

Modelers blocked out those virtual sets using simple shapes, working with layout artists to position the camera.

Then, they added details in areas where the camera would spend the most time. Although the effects team created a sprinkler system and sent lava spurting out of a volcano in a science exhibit, most of the effects happen during the climax of the film. To art-direct the pollution belched by thousands of fiery smokestacks, the team used sprites.

The team also used RealFlow to simulate other fluids—water, jelly, peanut butter, and so forth. For the swarms of evil Doris hats, the VFX artists used Houdini, and relied on a combination of Maya and Houdini to create the time-travel effect for the spaceship. The team often repeated elements and textures to help keep the kids in the same spatial, if not temporal, universe. Thus, to help distinguish the present from the past, the artists changed the lighting. In the future lab, the light from the blue sky pours through a giant dome-like window and reflects on the memory scanner.

The bedroom, by contrast, has only one light source and one window. The future is a happy place; the present—soon to be the past—is a place to leave behind. Much of the film is raytraced, and the lighters used ambient occlusion throughout, finding efficient ways to do both. We also got good at off-screen reflections and at faking off-scene stuff. So, the lighters put something there—perhaps a painting on a card or a bit of animation from another scene.

It was murder. Now go away and figure out which ones will help you make the movie better. The animators were hardest hit by the story tweaks. For the rest of the crew, the impact was minimal—even helpful. We sat with the animators and technical directors and cleaned up any issues and problems with the rigs.

That little window gave us a great opportunity to catch up. In addition, the technical wizards at Disney and Pixar began exchanging ideas. His earlier involvement in this project resulted in new ideas for enhancing stories with stereo.

Rather than arriving at the tail end of the process and converting a completed film into a stereo 3D version, McNally began working with Anderson to pick scenes and shots best suited for stereo. The red zones—the big chase scenes and other exciting shots—were targets for stereo 3D. The green zones gave the audience a chance to relax. McNally and a team of eight at Disney used three methods to set up the stereoscopic camera and control the appearance of objects in stereo: depth how far back or forward the object appears , position in front or behind the screen , and framing.

The two most common techniques are depth and position. Positioning the zero parallax point determines whether characters are in front or behind the screen. The unique technique implemented for this film is an optical floating stereoscopic window frame. Although it goes unnoticed, a black edge always frames the stereoscopic window—that is, the hole through which you look deeply into space, or from which something flies out at you.

The frame, typically placed into the image, makes it look like the screen moves. By moving the frame separately, they were able to use stereo for shots that otherwise would have been more difficult, and they were able to increase excitement and tension.

For example, rather than move the Bowler Hat Guy from a great distance toward the camera, they moved the frame away from the camera.

Once the Disney team completed setting up the camera for the stereoscopic work, they sent RIB files for the mono movie the left eye to Digital Domain, where a crew rendered and composited the final image for the right eye and applied the floating window.

With each film, the potential audience has grown. The goal for Meet the Robinsons is theaters. The potential for using stereo 3D to help tell stories is growing as well. Look for Meet the Robinsons to open some eyes. Doris , the villainous hat, had one of the most complex rigs. At top: A new Studio Rigger tool devised by the model development team helped the riggers quickly set up multiple characters with similar characteristics from one template. At bottom: The rig for Doris, the villain, handled the complexities of a character that is shaped like a hat but walked on six legs and discharged a variety of clever tools.

In addition to environments, modelers also built a flying car, a time machine, and several props. Much of the fi lm used ambient occlusion for soft lighting and shadows. Selective raytracing added realism by giving such elements as the toaster the off-screen refl ections.

The rectangular present day at top uses warm, autumnal colors; the future world of new beginnings at, below is spherical splashed with the colors of spring. Forward Thrust. Barbara Robertson is an award-winning writer and a contributing editor for Computer Graphics World.

She can be reached at BarbaraRR comcast. Sponsored News. What will you create? Search for:. Keep up with latest news. By clicking the "Subcribe" button, you agree to sign up for the CGW Magazine e-newsletter, as well as to receive third-party promotions from our partners.

Meet The Robinsons, Stephen Anderson

As a year-old boy, Michael is more interested in baseball than his roommate's inventing hobby. He is mature for his age as he is willing to let go of his problem. However, in one of Lewis' timelines, after he missed the winning catch, his fury became uncontrollable as he was constantly in a bad mood. Once the orphanage shut down, as time progressed and as he grew up , his resentment of Lewis grew. As a result of shutting himself from the world for three decades, Goob never properly matured as an adult as his anger caused a stunted mental development.

Bowler Hat Guy : You are now under my control! Bowler Hat Guy : Hee hee hee hee! Bowler Hat Guy : Stop laughing. Bowler Hat Guy : Don't repeat everything I say!

Stephen J. Anderson: Bowler Hat Guy, Grandpa Bud, Tallulah

Invented by Cornelius Robinson as a 'Helping Hat' that would assist wearers in small tasks, Doris soon rebelled against her creators and took control of the test wearer. Cornelius acted quickly to deactivate her and she was placed into a Robinsons Industries storage room for prototypes and failed inventions. She soon reactivated and escaped, meeting Bowler Hat Guy , who was egging and toilet papering the Robinsons Industries building as an attempt for revenge. They discovered they shared the same hatred of Cornelius and decided to team up in an attempt to destroy the future he created by stealing the second Time Machine and presenting Doris to the Inventco board, though Goob made the additional suggestion of stealing the Memory Scanner at the Science Fair as a way to put his foot in the door before presenting Doris as well. Originally invented as a fashionable personal assistant and headgear, DOR turned out evil, wishing to be the master rather than a helper. After escaping Dr. Robinson 's vault of failed inventions, she vowed revenge against her creator for trying to shut her down and lock her away. She was willing to partner with Mike Yagoobian as a means to an end, although she was clearly infuriated by his stupidity, particularly when his incompetence got Mini-Doris captured, as she slapped him with the control.

Meet the Robinsons

In the movie, Lewis, an orphaned boy and brilliant inventor, wants to find his birth mother. He hopes that his latest invention, a memory scanner, will help. But, a scoundrel wearing an evil bowler hat, named Doris , steals the invention. When Lewis nearly gives up hope, Wilbur Robinson appears out of nowhere, whisks him into the future to look for the Bowler Hat Guy, and introduces Lewis to the wacky Robinson family. In the studio, the artists who created Chicken Little rolled from that film straight onto this one.

We wanted something that immediately meant that you saw that character and you KNEW it was the villain. As far as the voice goes, early on when we storyboard the movie, we do temp voices as place holders, before we cast the actors. Some of the other crew members do character voices in the movie. It is really exciting to be one of the first computer movies coming out of Disney.

Meet the Robinsons (United States, 2007)

It's tempting to label Meet the Robinsons as just another in a long line of recent computer animated kid-traps, but it deserves a more upbeat description. Thankfully, we're not subjected to the new staple of the big-screen cartoon - anthropomorphized animals are kept to a minimum a few genetically engineered frogs and a T-Rex. I'm tired of talking bears and singing donkeys. It goes without saying that children will enjoy the movie this is a blanket statement that applies to anything except the worst animation , but there's enough of a storyline to keep adults from dozing off.

SEE VIDEO BY TOPIC: Meet The Robinsons Bowler Hat Guy's Don't Let It Go Speech

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Meeting Wilbur, the Bowler Hat Guy and Lewis in Adventureland

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The 47th Disney animated feature film , it was released in standard and Disney Digital 3-D versions. It was the first film released after then- Pixar executive John Lasseter became chief creative officer of Walt Disney Animation Studios. Lewis is an aspiring year-old inventor who grew up in an orphanage , whose inventions have been scaring off potential parents. He works all night on a machine to scan his memory to locate his birth mother, who abandoned him at the orphanage when he was a baby. While taking the scanner to his school's science fair, Lewis meets year-old Wilbur Robinson, a mysterious boy claiming to be a time cop from the future.

Michael "Goob" Yagoobian

Thomas S. Animation has been a staple of the filmmaking process since the early days of cinema. Animated shorts had been produced for decades, but not until did a major studio venture into animated features when Walt Disney produced Snow White and the Seven Dwarfs.

Fast Forward

Disney's animation Meet the Robinsons is a science-fiction adventure comedy-drama. It follows the exploits of tween inventor and orphan Lewis, who builds a memory scanner and meets a time-traveling kid named Wilbur from the future, sent to the past to stop the nefarious antics of the Bowler Hat Guy and his robot sidekick. Through the action-packed adventure to restore time to its proper state with plenty of twists along the way, Lewis comes to realize the importance of not living with regrets of what could have been, and instead focussing on a better tomorrow. Here are 10 hidden details in the movie relating to the main characters.

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