Production Tangled

1 production

1.1 recording
1.2 animation

1.2.1 technology development

production

on september 10, 2009, announced actress , singer-songwriter mandy moore had been cast voice of rapunzel, , actor zachary levi provide voice of flynn rider. mandy moore approached project through auditioning, when heard film story of rapunzel being made. moore later expressed had dreamed disney princess since young , said role of rapunzel, had fulfilled ultimate childhood dream . described herself girly fan of disney classics little mermaid, beauty , beast, aladdin , lion king, , honor part of legacy —the lineage of such disney icons. since film going musical, required auditionees had read several scenes , perform song of choice, ensure voice actors both act , sing. singing section, moore chose me joni mitchell, song herself had covered on fourth studio album, coverage (2003). moore revealed had attend several audition sessions , described experiences pretty fun didn t put hope in getting part because believed there competition role; performed best without anxiety. when received callback disney telling got part, moore described herself being on moon : working in new york @ time. friends , husband—and screamed found out news.

the film reportedly cost more $260 million produce.

recording

in tangled, animated films, voice actors had record dialogue separately 1 avoid bleeding each other s tracks. mandy moore later recalled during recording, had never met donna murphy , met zachary levi once when recorded see light . moore thought exercise in employing imagination . when recording action scenes, voice actors had jog little in place in order make voices sound realistic. songs, moore , levi recorded on soundstage 65-piece orchestra under supervision of composer alan menken. sang live orchestra several times in order vibe , feel music , singing, asked go in isolation booths record actual tracks. in order aid animators in animating characters, filmmakers did interviews voice actors , filmed facial expressions throughout recording sessions. disney animated films animated synchronize recorded dialogue rather asking vocal talent synchronize delivery animation after rendered. thus, moore felt recording process challenging because @ time had no animation @ except few sketches.

due scheduling conflicts other projects (moore had travel different places such london or new york, , levi record on weekends 5 hours once every 6 weeks), did not record dialogue in same order in final film. [when came in], maybe sequence or scene had been recorded mandy (moore) already, maybe hadn t. d end doing same scene 5 times, depending, levi said. after watching finished film, moore disappointed because felt voice sounded shrill , while levi thought performance sounded incredibly nasally .

animation

the swing jean-honoré fragonard.

the film made using computer-generated imagery (cgi), although tangled modeled on traditional of oil paintings on canvas. rococo paintings of french artist jean-honoré fragonard, particularly swing, used references film s artistic style, style described keane romantic , lush. create impression of painting, non-photorealistic rendering used.

a concept rendering of rapunzel lisa keene, demonstrating luscious golden hair keane wanted.

glen keane wanted film animated using traditional 2d animation process. however, disney executives david stainton , dick cook announced approve film production if created using 3d computer graphics. in response demand, glen keane held seminar called best of both worlds , he, 50 disney cgi artists , traditional artists, focused on pros , cons of each style. after meeting, decided film made in 3d cg animation, in way become extension of traditional 2d disney aesthetic , term referred naturalistic animation conforms fundamental principles of animation documented frank thomas , ollie johnston in book illusion of life: disney animation.

due limitations in computer technology, regarding attempts capture complexity of human form, many basic principles of animation used in traditionally animated movies had been absent earlier cgi films; technological advancements have made easier blend two, combining strengths of each style. keane stated repeatedly trying make computer bend knee artist instead of having computer dictate artistic style , of film. making computer become pliable pencil , keane s vision of three-dimensional drawing seemed within reach, artist controlling technology. many of techniques , tools required give film quality keane demanded did not exist when project started, , walt disney animation studios had create them on own. keane said, there’s no photoreal hair. want luscious hair, , inventing new ways of doing that. want bring warmth , intuitive feel of hand-drawn cgi.

one of main goals of animators create movement mimicked soft fluidity of hand-drawn art found in older disney animated films. keane credited disney 3d animator kyle strawitz helping combine cgi traditional hand-drawn style. took house snow white , built , painted looked flat painting started move, , had dimension , kept of soft, round curves of brushstrokes of watercolor. kyle helped fragonard of girl on swing… using subsurface scattering , global illumination , of latest techniques pull off convincing human characters , rich environments.

rather focusing on realism, 3d team used aesthetic approach. robert newman, film’s stereoscopic supervisor said we’re using depth more artistically ever before, , we’re not concerned literal transcription of depth between camera , projector interpretation of it. this, used new technique called multi-rigging, made of multiple pairs of virtual cameras. each pair used individually on each separate element adds depth scene, background, foreground, , characters, without adjusting relation other pairs. when sandwiched later in production, result visually impossible in real world, created appealing film.

as counterpart appealing , cute design of rapunzel, directors wanted make flynn rider handsome, attractive male lead disney has ever had. held large hot man meeting gathered 30 women studio , asked them considered attractive in man. brought in hundreds of images of favourite male actors , celebrities, torn , pasted again. after deliberation, narrowed down 1 concept drawing.

technology development

existing technology continued present difficulties: in particular, animating hair turned out challenge. senior software engineer kelly ward spent 6 years writing programs make move way wanted. late january 2010, directors still not sure if rapunzel character s length of hair going work. these problems solved in march: improved version of hair simulation program named dynamic wires, developed bolt, used. make hair float believably in water, , surmount other similar challenges, discrete differential geometry used produce desired effects, freeing animators executing these specific tasks directly, have taken days instead of minutes.