Last year I worked as a clean up artist on the Oscar-nominated and BAFTA-winning Klaus. SellOut Animation, based in Edinburgh, worked on scenes outsourced from the main studio, SPA, in Madrid. From May until August I joined the team, cleaning up a variety of shots and characters from throughout the film.
It was a steep learning curve, having both to familiarise myself with both the complex characters and the software. We cleaned up around fourteen drawings a day, which approximates to a little over a second of footage.
These shots were animated by Cécile Carre. I did some clean up work on both of them (not shown here).
I would be given a scene which already had one or two spot keys drawn for each character. These allowed me to see how the character was supposed to look, and gave me a head start for the drawings nearby. This was especially useful when drawing Alva. Her clean up model sheet showed her with quite a neutral face, but in the shots I worked on she was usually scowling!
This shot, featuring Alva and Jesper, was a collaborative effort. Most of the shots were – I only worked on one, I think, where I did the keys, breakdowns, and inbetweens for all characters. In this shot I cleaned up the keys for Alva, Jesper’s hat, bag, and letters. I also did a couple drawings of Jesper.
I had a lot of fun working out which way up the letters would be as they fly up in the air and float to the ground.
The original was animated by Cécile Carre. You can view it here.
Despite being the titular character I didn’t work on that many shots of Klaus. This shot was a really nice one to clean up with a mix of subtle and large movements in Klaus’ face. I cleaned the keys for Klaus and Jesper.
Comparing the images of Klaus you can see how the clean up lines have been used in the final film. Outer ‘containing lines’ vanish, but the internal lines remain.
Victor Ens animated this shot, which you can see here.