:56:00
of these things kind of
being whipped around...
:56:03
by the wind and then to rig them
in a configuration...
:56:07
that would actually fly,
was Seth Engstrom's design.
:56:13
Come on!
:56:15
Of course, all their legs would be broken
if that really happened.
:56:18
Luckily, it's animation
and our characters survived.
:56:21
And Sinbad's lost his hat
till the end of the movie, right?
:56:24
Oh, boy, that was a debate.
His hat was on every scene for a while...
:56:27
and then we realized we weren't doing
our main character justice...
:56:31
and so the hat's off.
Several key points throughout the picture.
:56:35
He just looks a lot more manly
without the hat.
:56:38
Manly, yes, but I liked it.
:56:41
Great 3D lighting of the boat through here,
these next couple of shots.
:56:46
Light through the sails.
:56:53
That was a great shot.
:56:54
Didn't you add that in the layout, Damon?
The shot with the mast shaking?
:56:57
Yeah, we spent ages animating it
to try and solve it...
:57:00
because it had to have weight
and also had to be intense.
:57:04
Gentlemen, it's been a privilege
robbing with you.
:57:08
Again, one of those group shots
in which seven animators all cooperate...
:57:11
on something that's only on-screen
for two seconds.
:57:18
Spike, who's about to show up here...
:57:20
for his moment with Sinbad
before they leap over the edge...
:57:23
was a bit of a late addition,
and if you're watching closely...
:57:26
you might wonder how Sinbad's able
to kneel down and pat Spike...
:57:29
when he's tied so closely to Marina.
:57:33
It's a lovely little goodbye
that we felt was worth adding.
:57:38
It takes a lot of work to do something
bright white in animation...
:57:41
so that gateway and how the light chews
into their silhouette...
:57:44
leaving them sort of soft-edged.
:57:46
That's actually harder to do
than leaving them sort of crisp.
:57:49
But it mimics what happens in the real world
with bright white light on film.