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It was a long-lensed camera with a forced flat perspective of the ground. Something that is almost impossible angle for traditional 3D, without trickery, and felt more akin to a 2D illustrative style. We then began to wonder, what happens if we move from a very wide-angled, cinematic camera to this more flat perspective?  This initiated the test of the shoreline and the film began to move in an interesting direction.",{"type":18,"attrs":384,"content":385},{"textAlign":85},[386],{"text":387,"type":22},"Each puzzle had it’s own visual or narrative snag, some of which were solved through storyboards or design frames, and some were solved by blocking it out in 3D via the expertise of one of our animators on the project, Milo Targett. Some puzzle resolutions even evaded us towards the end of production, such as the monumental aligning star seen from above. 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As soon as we saw the scene in blocking, we knew it had the right energy and pacing to lend itself to some charming character animation and frenzied puzzle-solving. The icing on the cake was when we heard Todd Baker’s & Lucie Treacher’s rhythmic score build over this sequence. 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