D E PA R T M E N T
the asset," says Budsberg. "I can draw
an asset in under an hour as opposed to
building a bush, which would take days to
a week. There's an expressiveness that is
lost in just the meticulous construction of
something."
Beyond the 3D tools, the production
design team was tactical in their approach
using the environment to guide the viewer—
not only to direct their attention, but to
engage them in an experiential way. "I think
with the way the story is told, it does draw
you in because you follow [Roz] into the
forest," says Zibach of the deliberate framing
of shots with branches or leaves. "We were
always set dressing and composing things
that really made you feel like you're close to
that environment. Limiting the wide shots
added to that effect."
This kind of cinematography was used
as an important storytelling device: at the
beginning smaller, intimate shots invite the
viewer to experience the world through
Roz's lens. As the story progresses, the
world gets bigger and opens up visually with
wider shots that align with larger emotional
story points, like when Brightbill, a gosling
that Roz has developed a maternal bond
with, ies away for the winter.
aBoVe (CLoCKWise):
Storyboards by Steven
MacLeod; fi nal image of Roz
experiencing butterfl ies.
BeLoW: Animation Supervisor
for Fink the fox, Dan Wagner
oversaw the development of his
unique relationship with Roz.
WINTER 2024 27
