Animation Guild | We are 839 Digital Magazine
Issue link: https://digital.copcomm.com/i/1188718
As technology and rendering capabilities improved between Frozen and the sequel, the level of detail visible in every frame has increased dramatically. "It was amazing to see my very graphic, 2D representation executed into something that looks like you could actually wear it," says Visual Development Artist Brittney Lee. Embroidery, elaborate beadwork and skillful layering of materials added eye catching details to Elsa's travel ensemble. This key outfit, however, serves as more than just an aesthetic purpose, it had to support the narrative of the story and Elsa's journey into the unknown. Elsa needed higher hemlines so her coat and dress wouldn't drag in the enchanted forest; she also needed to be able to remove layers and to perform, ultimately facing off against the Nokk in the dark sea. "We knew she was going to be underwater and it was going to be high action," says Lee. "I grew up dancing and knew there were designs that were beautiful and tailored but allowed for movement." Lee pulled references of fabrics used in dance performance, and examined mobility, volume, drape and the construction of dance costumes. this page: Several departments including animation, effects, tech animation, and lighting collaborated to create the water spirit Nokk. "It was amazing to see my very graphic, 2D representation executed into something that looks like you could actually wear it." – VISUAL DEVELOPMENT ARTIST BRITTNEY LEE and the sequel, the level of detail and the sequel, the level of detail visible visible in every graphic, F E AT U R E 42 KEYFRAME