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The Little Mermaid is the latest in the series of Disney remakes that attempt to bring the original stories into the real world whilst at the same time making them more politically and socially acceptable.
Unfortunately this "Under The Sea" remake was released the year after Avatar: Way Of Water, so as far as water simulations, fluid dynamics, and specular and diffuse reflections were concerned it was always going pale by comparison.
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However, that is not to say it didn't have some impressive visual effects.
Framestore, MPC, Rodeo FX, Union VFX, and Vitality VFX all worked together on this film with Secret Lab helping with cosmetic and clean-up work.
One of Framestore's first challenges was building the wide variety of 3D coral that was required.
This started with concept designs and a number of 3D scans along with reference photography.
From this reference it became clear that modeling and sculpting such complex shapes by hand was not going to be the most efficient or adaptable method to build the coral and they needed a more automated way to generate a large volume of different coral species so they developed a number of tools to generate the coral procedurally.
These coral generation tools enabled the artists to modify coral shapes efficiently and with a high level of control.
Framestores animators had the challenge of translating the original 2D characters Sebastian, Scuttle and flounder into photoreal 3D characters.
Sebastian was particularly difficult because in the original 1989 animated film they brought life to the character using exaggerated, humanised expressions.
But a real crab is so minimal that it was hard to emulate that same emotional character with just a set of eyes and a hard shell body.
Scuttle was slightly more straightforward. The animation team collaborated closely with Walt Disney Studios to establish the final look for Scuttle, creating a feather system within Framestore’s groom tool, Fibre.
While earlier renditions retained the cartoonish aspect from the original animation, the final version settled on a much more realistic look, and (just as it did with Sebastian) this made emulating the same wacky character from the original film especially difficult.
These assets were shared between all the VFX vendors including Rodeo FX
Rodeo had to animate them to remain as faithful as possible to real animals whilst expressing the wide range of emotions given in the performance of the voice actor behind them.
This required complex and delicate rigs and in-shot animations to carefully render the screen time of each character. Different approaches were developed to express emotions through pincers, extra legs or wings.
The CG characters also had to be anchored in their environment, be that by adding CG dust on land, or clever framing, or adding shadows and reflections, or CG bubbles.
Rodeo also had to deal with another challenge altogether: water effects.
Some scenes required a full CG environment, working with practical boat and creating the sea surrounding them, and other sequences had them add CG ships and more texture and movement to the water.
The scenes involving Ariel were largely filmed with Bailey in a variety of rigs against bluescreen, with the idea that everything else about the character was computer-generated only her live-action head and arms would be retained in the final shots. And of course, for some shots she was a full CG digital double.
But before they could get to the bluescreen filming portions of the photography, they first had to go through months of methodical pre-planning, pre-visualization and an extremely extensive choreography process.
Choreographers Joey Pizzi and Tara Nicole Hughes created the movements for the sea creatures.
They started by watching documentaries like "Blue Planet" and literally auditioning particular types of sea creatures whose bodies naturally lent themselves to dance.
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