Nightmare Before Christmas 3D Opening Night at the El Capitan
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The next question was about animating Oogie Boogie. Thompson asked Belzer if the large character presented any problems. The animator quickly said that Oogie was not a problem, but he was tough to work with. The character stood taller than the rest, and had an extensive wire armature. Eric Leighton, the supervising animator would actually crouch down and wrestle with the puppet during the shooting. Belzer noted that animator Paul Berry, who enjoyed working with the elegant Jack Skellington, didn’t like Oogie Boogie.
At the mention of Paul Berry, Thompson asked how he created the Melting Man effect. Belzer explained that the puppet was actually coated with a combination of clay and wax, which was slightly melted by Berry between each shot. Belzer noted it was, “A ridiculous concept and idea, but it actually worked.�?
Thompson wound up the panel discussion by asking Anthony Schaeffer about the actual process that resulted in the 3D conversion of The Nightmare Before Christmas. Schaeffer said that the first step was to scan the entire original film, just as they did with any film requiring special effects. “ILM has been in the visual effects business for 30 years,�? he said. The entire film was treated as a visual effect. First, a complete double was built inside the computer. Using the information, they created a proxy right eye, and combined it with the existing left eye.
The maximum depth the team aimed for was no more than two inches on average. Beyond that, he said, the brain “freaks out.�? The depth was pushed only for major story points. The biggest issue was coming up with the “look around.�? Since the sets and characters no longer existed, there were constant decisions to be made on what was behind things. “Luckily,�? concluded Schaeffer, “we were fans. It took long hours.�?
Thompson thanked the panel, and mentioned that anyone who wanted more information on the creation of The Nightmare Before Christmas could consult an excellent book on the subject… written by himself! As the panel prepared to leave, Thompson called Ken Page forward and, for the second surprise of the night, asked if he would favor the crowd with a musical number. To the delight of all, Page tore into a torrid version of Oogie Boogie’s Song. He enjoyed playing to costumed members of the crowd, even laughingly stumbling over his lyrics at one point.
The screening of the film followed, preceded by 3D trailers and a new 3D version of Pixar’s Knick Knack. After the film, patrons were invited to view an exhibit of original puppets used in the making of The Nightmare Before Christmas.
The exhibit, in the lower gallery of the El Capitan Theater, will be presented throughout the film’s full time run. The room is kept dark, and is carefully climate controlled. The puppets, on loan from the Disney Animation resource Library, have never been publicly displayed. Signs explained that they were intended only for use during the filming, and are therefore quite fragile. The major characters are displayed, along with a few memorable supporting players. Also on display is the original pumpkin hill set.
The Nightmare Before Christmas in Disney Digital 3D plays at the El Capitan Theater through January 4. Starting November 3 it will play late nights only, with The Santa Clause 3 filling out the rest of the schedule. Tickets may be ordered on line at www.elcapitantickets.com, or by calling 1-800-DISNEY6. Groups of twenty or more are eligible for a group rate by calling 1-888-845-3110. The same number may be used to book a Nightmare Before Christmas birthday party. The historic El Capitan is located at 6838 Hollywood Boulevard, in the heart of Hollywood.
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-- Posted October 20, 2006
-- Article by Doug Marsh