“Water is always hard,” said Marlon West, the co-head of effects animation for Moana. But depictions of the ocean in those stories are nothing like what audiences see in Moana, which is as groundbreaking for its portrayal of water in 2017 as 20,000 Leagues Under the Sea was in 1916. The 1940 film Pinocchio, with its famous whale sequence, is what first inspired Clements to pursue a career in animation. Moana’s directors, Ron Clements and John Musker, have been obsessed with stories about the ocean for decades. Most recently, Disney dazzled audiences with the animated film, Moana, which tells the story of a girl from the Pacific Islands who sets out on a voyage to rediscover her ancestors’ wayfinding heritage.
Later, when they shared their still photos with newspapers-images included a blurry oblong shark and shadowy seaweed-it created a sensation.Ī view of the ocean in 20,000 Leagues Under the Sea (1916)įilmmakers have been using technology to push the limits of how the ocean is portrayed ever since-and not just in live-action films. And they had the idea of bringing a camera with them next time. From the glass portals along the tube, they observed red snappers, yellowtails, fat groupers, and other shimmery creatures weaving through the coral reef of the Bahamas. John Ernest and George were enchanted by their father’s machine. At one end of the tube was the boat on the surface of the water at the other, the submersible room.
#Animated ocean waves stripe series#
The device was a series of flexible concentric tubes, “interlocking iron rings that stretched like an accordion,” as the Library of Congress puts it, made to suspend from a specially outfitted ship so that a diver could descend into a watertight chamber below. To do so, the Williamsons turned to a piece of technology their father had designed for divers in undersea repair and salvage jobs. A century ago, the brothers John Ernest and George Williamson, the sons of a sea captain and inventor, would prove it. In the early days, when motion pictures were still new, filming the ocean was a radical idea.Ī surface-level shot of the waves was certainly feasible, but capturing footage of swaying undersea fauna, swimming fish, and marbled sunlight dancing on the seafloor? The consensus was: It couldn’t be done.
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