00:04The main thing that inspired the design was just classic proportions that are cute and
00:11vulnerable, and that is a larger head, these innocent eyes, it's really baby proportions.
00:17Chicken Little really is a 12, 13-year-old.
00:20He's just small for his size.
00:22I've got five ounces this year.
00:24I've really bulked it up.
00:25It's to be Chicken Little, so I really kind of poured myself into the character.
00:30What are we talking about?
00:30I really kind of acted out, how would I say that?
00:33You know, how would the character Chicken Little say that?
00:36You know, I've combined the two.
00:38Thanks for the chance.
00:41Mark Dillow brought in some old Walt Disney animated shorts that were made in the 40s and 50s.
00:47He said, this is the stuff that I love.
00:48This is what I wanted to look and feel like.
00:50I think the style of animation on Chicken Little is a cartoony style.
00:55One of the things I got from looking at that was how much fun it was.
00:59When the character walks across the stage, it's done with gusto and attitude and squashing
01:06and stretching, and I wanted to try and capture that in the style of animation for Chicken Little.
01:10Here we've got a whole studio of these animators that are now animating 3D animation, but we
01:17have such a heritage of 2D animation.
01:19We figured out ways to introduce drawing right back into the process, and there it is.
01:25Squashing stretches is an old animation to the animation term to get elasticity into a character
01:33drawing.
01:34There's a great example of the use of squashing stretch in the movie.
01:39He grabs Chicken Little by the hand, bounces him up and down, fires him like an arrow against
01:44the window to flattens, and then he starts to flop down that window, and it's all available.
01:49Squashing stretching the characters out.
01:51It was really important for us to keep that to the sensibility because it's part of our legacy.
01:56I think animators, when they come to the studio, they look back first.
02:00They look back at the standards that have been set, and some of the best animation the world
02:04has ever seen.
02:053D animation is different in that the animator's working with a digital puppet.
02:12He manipulates a computer-generated puppet with tons of controls, and bones, and wires,
02:20and all these different things, but it's still on the computer.
02:22I knew it!
02:23You've got to think about rotations, and joints, and each part of the character has a certain
02:29rig, and a certain control that makes it move.
02:31The 3D characters are able to convey subtle acting moments better than 2D characters.
02:38You have a finer detail of facial expression available with 3D.
02:43No, it wasn't an acorn.
02:44It was a piece of the sky, but it wasn't.
02:47I love animating things that he didn't think that we could bring to life.
02:51Like in a talking channel.
02:52There was definitely talking.
02:53That's what I get the most of him enjoy from.
02:55What 3D offers us is an opportunity to make your characters that which more would be able
03:00for.
03:00Walt was always about using technology in the service of telling the story.
03:04I think if Walt is here alive today, he would absolutely embrace this video.
03:07This is what memory you'll save forever!
03:11AOGRAPHIC VOILING
03:12AOGRAPHIC VOILING
03:14ALONG
