Animation Guild

Also important in this process was the development of the characters—something that the choreographers influenced at various points. Lehtomaki says that the first time the Encanto character of Dolores was tackled in a significant way was early on while developing the song sequence for "We Don't Talk About Bruno." Dolores is the family gossip with the magical power of super hearing, and "Kai thought, well, if she can hear everything, she's going to want to be very quick and quiet about all of her movements, and so she likened her to moving like a cat." The team took this as a source of inspiration going forward so that whenever Dolores appears, she pops up where you least expect her. The balls of her feet touch the ground first, rather than in the usual heel-toe manner, because she's purposefully trying to be quiet. Having the cat verbiage for Dolores was great, Woodside says, because "as we're looking at her on-screen, [we ask ourselves,] does she feel like a cat? If she doesn't, then we can talk about why. This was a place where choreog- raphy definitely drove animation." Choreography also played a role in helping to shape the mood that sets up Vivo. For the opening musical sequence, ne o a ind, any dierent approaches ere eplored "Vivo was jumping from this building to that building," sliding down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film- making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend- ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. Jhun. "We immediately knew, oh my God, that's it! Those two down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that down laundry lines and jumping into a soccer game, says Head down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that down laundry lines and jumping into a soccer game, says Head down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that down laundry lines and jumping into a soccer game, says Head down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." This sequence laid the foundation for the characters' friend ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head down laundry lines and jumping into a soccer game, says Head of Cinematography Layout Yong Duk Jhun. But when the film making team brought in choreographer Calvit Hodge to provide some live-action dance references for how the scene could unfold, "we realized that when Vivo's jumping from building to building, we're not really focused on Vivo and Andrés," says Jhun. "We immediately knew, oh my God, that's it! Those two characters dancing together—that's the whole point of the sequence. [It's about] how much they've been doing together for such a long time." ship, heightening the emotional scenes to come and making them more meaningful. It also grounded the movie before it took off with more eclectic and raucous musical sequences that made creative use of 2D, 3D, and 2D/3D hybrids. down laundry lines and jumping into a soccer game, says Head š›œž Ÿ¡¢£, ¤¥¦§ š¦Ÿ: Choreographer Calvit Hodge led his dance team in moves that would help shape the opening musical sequence of Vivo. Using the enclosed transparent overlay, the picket-fence animation technique brings Andrés and Vivo to life. ¦ŸŸ¦žœš£: Carlos Romero's storyboards set up the dynamic between energetic Gabi and wary Vivo in Vivo's "My Own Drum" sequence. 34 KEYFRAME F E AT U R E 34 KEYFRAME

• Cover
• FROM THE PRESIDENT
• EDITOR'S NOTE
• ART & CRAFT
• THE CLIMB
• AFTER HOURS
• TECH TALK
• ON THE JOB
• DIALOGUE
• STEP INTO CHOREOMATION
• THE ART OF DELEGATION
• HOLIDAY SPIRIT
• FINAL NOTE