Every shot presented a new artistic technical challenge. From getting a texture workflow that feels just right, to building convincing swarm behavior rigs, our work was cut out for us.

Often we found ourselves starting in 3D just to create reference images for the cel artists, so they could better visualize how the proportions in more extreme views would behave. Other times we would build an entire shot with shape layers over our pencil tests for vector smooth curves that could move with perfectly crafted ease.