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'It was a struggle for our head of layout Yong Duk Jhun because you have a grid system of how to shoot an emotional scene and the camera is only going to be such a distance.вЂќ Mitchell adds, 'But with the Trolls we kept forcing Yong to pull back because their heads would cover a whole frame.вЂќ Other modifications were made to visually compensate. 'The animators struggled a little bit in the beginning with the design as well because the main thing of these characters is to hug every hour on the hour,вЂќ states Walt Dohrn. 'Their heads were huge, the ears jutted way out, and the bodies so tiny, squat and stubby that the simplest over the shoulder shot became the hardest thing to get,вЂќ remarks Mike Mitchell who had to adjust to the unusual circumstances. The body proportions of the Trolls did not allow for a traditional approach towards selecting camera angles. 'We wanted to be snappy, funny and hyper with these little Trolls, but when the story gets emotional crank down the animation so they are moving more realistically.вЂќ Shape Shifting 'Walt and I always solve every question with story,вЂќ explains Mitchell.

It wasn't that far from the truth!вЂќ A new style of animation needed to be created. 'We thought, вЂYou just do it.' Our joke is there's a room with guys with lab coats throwing glitter at each other and filming it. 'It was funny because the computer didn't understand how to render glitter which was a big surprise to us,вЂќ reveals Walt Dohrn. It's stunning what they did.вЂќ The shiny element led to an unexpected discovery for the filmmaking duo.

We covered naked troll characters, like walking disco balls. 'And we said, вЂThe story doesn't make sense without the glitter!' To be fair it wasn't just exploding glitter. It's becoming difficult,'вЂќ recalls Mike Mitchell. 'The producers were like, вЂDo we have to have this glitter. 'In two of the most complicated scenes, DJ Suki's hair was hard to render, so we decided to make it more like dreadlock hair and The Fashion Twins which are conjoined by hair.вЂќ Everything GlittersДЄdding to complexity was extensive utilization of glitter, leading to the development of a GlitterFlakes shader which uses a 3D noise cloud sphere to produce a sense of randomness, as well as allow for the motion, shape and reflectivity to be controlled. The hair is their superpower!вЂќ A number of hair issues needed to be resolved. 'The hair had to do so many things, like grow into stairs, change color and make specific shapes.вЂќ Mitchell laughs, 'They can swing from it, like a monkey tail. 'The character effects animators were able to manipulate the hair in a much more advanced way than we had done before,вЂќ explains Walt Dohrn. Trolls was the first project to use DreamWorks Animation's proprietary long hair simulation tool called Willow that provides the ability to style, simulate and preview within one application. It was her idea to make the fire out of hair and to have felt rocks.вЂќ 'The concept started off not as immersive but Kendal Cronkhite-Shaindlin took it further than I thought you ever could. 'We had our trolls as real gummy bears flocked in velvet, and wanted to use the technology to give it a handmade feel,вЂќ states Mike Mitchell. We got such a great reaction that we spent the next two and a half years trying to contain that lightning in a bottle.вЂќ Fuzzy ImmersionД«reaking from the trend of photorealism, the focus was in producing a вЂfuzzy immersion' by constructing characters and environments made out of felts, wool, velvet, macramГ© and flocked materials. 'That first screening with the storyboards and all of us doing the voices took us about six months to get to it. The height of their popularity was the 1970s so we took a little of that too.вЂќ The fantasy adventure revolves around an overly optimistic Troll, town leader Poppy (Anna Kendrick) partnering with the pessimistic survivalist Branch (Justin Timberlake) to rescue their friends from becoming dinner entrГ©es of the miserly Bergens. 'The birth place of the Trolls was Scandinavia, so our production designer Kendal Cronkhite-Shaindlin worked that into the design. 'In making the Shrek movies we learned a lot about what the audience wants, and the need to have these real characters with emotional resonance in order for the irreverent humor to work,вЂќ notes Walt Dohrn. В© DreamWorks Animations 'Trolls' directing team Mike Mitchell and Walt Dohrn share their experiences working on the latest DreamWorks Animation feature.ДЄ toy fad created by Danish woodcutter Thomas Dam appears on the big screen courtesy of DreamWorks Animation with the release of Trolls the plastic dolls with the Don King frizzy hair have been transformed into CG animated characters under careful attention of director Mike Mitchell, and co-director Walt Dohrn, who previously collaborated together on a blockbuster franchise.

What year did pursuit of happiness song