Meet the Robinsons - Page 4 of 4


		A Warm and Fuzzy Future (Continued from Page 3 )
		The habit that the studio had fallen into was a process that took more time, money and energy. Boarding acts one, two and three of a film at three separate time periods would often lead to going back and attempting to fix story bits that were already green-lit, which led to holding up production, creating new story problems, and inevitably damaging morale. “None of that was the case with this movie,” says Anderson. “We got to stake our flag in the ground and say, This is our movie, if you want to make, let’s make it.’” The screening of the finished boards in November ’03 was met with overwhelming praise. “That was probably the highlight of my career,” adds Anderson. “The response we got to the movie and the characters was so inspiring. That initial screening made us feel that we really had a story that’s worth making.” It was decided that the project was going to be CG-animated before Anderson or Ruppel were brought onto the project. “There was no motion capture at all, which I think made everything look much more alive,” asserts Ruppel. “Even though some of the characters’ movements are broad and sometimes very quick, it’s much more believable, I think, than a motion-capture performance.” Proprietary animation tools within Maya were used to create the character animation, and a proprietary piece of software called Paint 3D was used for texture-painting. All of the 2-D digital painting was done in Photoshop. Adds Anderson, “I think when you’re watching it you forget you’re watching a computer-animated movie. I’m amazed at the amount of warmth, heart and character that you could get in 3D.” “It’s so sweet and gigantic and joyful like those old motion pictures were, but without being treacly,” Joyce promises. “It just puts you in a good mood. You feel like you’ve had a grand ol’ time at the movies.”
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