:48:03
to CG, based on what the shot requires.
:48:05
- They look easy, don't they?
- Yeah, when they're done.
:48:09
This next sequence
is a tour de force in layout.
:48:11
We referenced everything from
Olympic downhill to BMW commercials...
:48:15
to anything you could imagine
involving speed or snow.
:48:20
A lot of back-and-forth
between the hand-drawn animation...
:48:23
and CG animation in there.
:48:25
I think we lost him!
:48:27
There's always a struggle with Sinbad.
He's unbelievably capable.
:48:30
Anybody who launches himself off a cliff...
:48:32
and wonders how he'll survive
is obviously pretty brave.
:48:35
And yet, we didn't want to make him...
:48:38
unafraid and invulnerable...
:48:41
and here he is trying desperately
to steer this thing...
:48:44
and he's just barely in control.
:48:45
We had fun trying to find that balance
between superhero and vulnerability.
:48:50
Part of the fun of this sequence
is that it starts out in real chaos...
:48:53
with Sinbad and Marina
really not working together at all.
:48:56
But then, from this point onward,
they sort of find a rhythm together.
:49:01
It's about...
Part of the purpose of this sequence...
:49:03
is that Sinbad and Marina cooperate
for the first time.
:49:10
Our little ode to snowboarding there.
:49:12
It was tough watching
all those snowboarding videos.
:49:16
I think David James had a good time.
:49:20
Lots of great design
from David throughout this.
:49:22
The drawings he did were just so clear...
:49:25
for such an elaborate space.
:49:27
- Ouch.
- The rhythm of this sequence is great.
:49:29
I don't know how much editing
you guys had to do but it's kind of...
:49:32
For all of the work that we do
in layout and story...
:49:35
it really does come down
to cutting it together...
:49:38
with a sort of live-action feel.
Tom Finan, our editor...
:49:41
was very aggressive in the way
he would both cut things...
:49:44
and then ask for shots,
actually request ways...
:49:46
in which he could keep the energy feeling...
:49:49
like it was real,
like it was a live-action approach to it.
:49:52
He did a lot of crosscutting,
which is unusual for animation...
:49:55
but it definitely gives the movie
a lot of energy.
:49:58
This shot took forever, the whole family.