Companions try all kinds of forms, from painting parties to exhaust rooms, they encourage creativity among employees, but Pixar’s approach is probably unique: the animation study houses regular employees of “cartoons” of Nasty. ”
“To some extent, we make cartoons, so we are starting in a good place, but we really try to encourage everything we can,” said Pete Docter, creative director of Pixar, speaking in Ate Fast companyThe most innovative business summit in New York last week. Lowering the level of fear and encouraging a playful and fun environment, he said, has a tangible benefit: “That seems to produce the best job.”
There is some start of the idea that an innovative power such as Pixar has to program in time for employees to flex their creativity, but Docter said it is necessary because the nature of work days, which are closely.
Creative risks
Hugging creativity is also important because the study must take risks when elaborating original worlds from scratch for new potential films franchises. That is especially true at a time when the public has not completely returned to theaters after COVID-19 and still has a preference decided by the aftermath, said Docter.
“It is a difficult time, and all we can do is try to make films that I think we are directed by us. We have to believe in them,” Docter told the summit attendees. Pixar will soon try if the public agrees: their new original film, ElioOpen in theaters on June 20. This marks the film 29 of Studios in three decades and continues Inside out 2which was launched last summer and became the greatest box office success of the Disney animation unit.
The massive success of that film was a surprise, Docter said, since making new original films requires a degree of hope of the best. “You need both work and effort to do something that does not win money as it does for something it does. And you really can’t plan these things. Sometimes you just hit the small correct combations of things.”
While the study has to take risks, Docter said, thesis films also take five years to do, and by when the spectators see them in a theater, approximately eight different versions have already made a leg prototype. He said that to mitigate some risks, Pixar has landed in a cadence or an original film followed by a sequel, more or less.
Hugging AI
While Hollywood has tried to deal with the implications of AI in recent years, Pixar has been using several ways for almost a decade, Docter said. For example, representing a single film frame (or that there are 24 per second) can take 30 to 40 hours, but the study developed software that allows AI to finish the task in much less time.
“That is very productive,” he said. “It is not to endanger anyone’s work or anything like that.” The study is exploring other cases of use for AI, since people begin to better understand the “really great” forms that could be used, said Docter, and pointed out: “Looking at it, it is a new exciting tool.”
Finally, Docter compared part of the current fear around AI to concerns in the mid -1990s that computer -generated actors were going to replace human actors to a large extent that it has not yet happened.
“[AI] It will not replace us all because there is something in the human condition, it is the reason why we are going to the cinema, that is why we read or listen to music, we are trying to connect with each mind, “hey, it is only.