How much time did you dedicate to storyboarding and animatics?
For the 3D animatic it took a bit longer. We discovered a lot of problems while working on it, regarding issues of space and camera moves. Some of the transitions didn’t work at all, and we quickly realized that our psychedelic trip was a bit poor. Above all, the connection between the boy and the titan was not clear enough. So we changed our plans to locate the psychedelic trip inside the house of the boy (which was at first anecdotal) and also made some changes to the final scenes with the titan. We reached a good 3D animatic by December (three months after we started working on it), and later we didn’t move from it at all. It turned out to be the best tool for guiding our work. Your choice of portraying large, open landscapes was a good challenge in itself. How did you go about creating and animating them? It was in fact a good challenge, and we tried many different techniques. As we didn’t have too many outdoor shots, we decided to use a mix of matte painting and camera mapping wit
