Frozen 2’s designers on how Elsa’s homemade ice clothes would actually work


(dramatic music) – You guys mentioned
a bunch of times today in the press stuff that
there was this research trip that went to Scandinavia and Iceland. How do you know you’re gonna
get everything you want. Do you know what I mean? Like, oh we gotta make
sure we go to this forest, we gotta make sure we do this. – We had loose ideas of general types of, we knew we had a town,
quintessential town. We knew we had forests, we knew we had kind of some more rock outcroppings, and the
reason I say that like that is, in the first movie there was Troll Valley. And in fact, there are locations that are named like that in Norway. So we knew we had to go
because we had to see what this was all about. And it was interesting because
they have on-land glaciers that calve and you can hear them and you understand where all
the legends and the myths of of the trolls and what not going on because of the sounds. They’re very eerie,
they’re very mysterious. You don’t know where they’re coming from. They rumble through the landscape. So not only when you go over there, you are collecting photo reference. And I don’t think there
was a rock unturned. But you’re also listening,
you’re smelling it, you’re looking at the air, you’re looking at the quality of light. Everything you experience,
you bring back with you. – And then I have to imagine
that like, in the modern age, if you’re like, “Oh
no, we need to know…” for instance I think you
were talking a bunch about different plants that
exist in Scandinavia. You probably know a whole
bunch about plants now that you maybe didn’t.
– A lot more. (laughs) – [Marah] That you maybe didn’t before. – It’s a hobby, but now I
know more about (laughs) another area, yeah. – What is the research library like here, or how did you, I know that you guys mentioned
you consulted botanists. – We did, we did. You know, obviously we have a really extensive research library. But it’s also built on all
the movies that we’ve made up to this point. So this was sort of new for us, and we really needed an
expert to come in and tell us not only what was growing,
but what changed color at what time of year, because we had a specific
pallet that we had to adhere to, and shape language that
we had to adhere to. So we were really looking
for certain plants that hit those aesthetic notes. So it was kinda digging through
everything we got from her and picked and choose the
things that would support what we needed. – Was this movie always set in fall? – As far as I know. – Yeah. – Yeah. – It seems like that was a
fortunate choice for you guys. With like Gale, and you
can blow leaves around verses blowing like green plants around. You know what I mean?
– Well, yeah. And we had also talked about additional things other than leaves. Gale, you know, had many different story iterations. And at one point we talked
about using little pieces of fluff and seeds and all
kinds of different things. And leaves was the most
communicative to an audience, and I think we settled on that because once you develop that language
and the audience knows what that means, and that is a character, to break it along the
way with something else just confuses your audience. – It’s been six years since
the last Frozen movie came out. What sort of technology
advancements really helped you guys make this one specifically? Or where like, gosh
everyone watches things in motion smoothing now, or like 4K, we have to account for those kinda things. – All of those things come up
I think in different degrees. In my neck of the woods, working with the costumes, we are using a program now
that’s called Marvelous Designer that helps us tailor
clothing on CG models. And we didn’t have that
on the first movie. And so, that helped us sort of get to an iterative point much faster. And then we also had the
technology and looked to be able to add bead work on top of embroidery, which was something we couldn’t do before. So we, when we knew that we
had those tools at our disposal we went nuts to try to
make sure that we use it as much as possible and
sort of make everything as beautiful as it can possibly be. – Yeah, for me the tree islands were one. We thought it was Christmas
when we were able to put different hues within
the leaves of the trees. That was like, woo! For us, that was great. Hyperion is a lighting thing, and I work all the way through the film, and work on color scripts
and with the lighters. And that was a learning
curve I think in a way, because you have to
respect natural light now. You can’t just sculpt it any way you want, you have to understand that
light is gonna hit something, it’s gonna bounce around,
it’s gonna reflect and refract in certain ways. And that is something, it’s going to, it’s mathematical. So you have to work within that. And if you wanna sculpt from there, you have to composite on top of that. – You mentioned the clothing, and you mentioned in the
little presentation earlier that Elsa makes her clothes of ice, or she has the capacity to, I
don’t know if she always does. – I think since, I mean, our kind of in-house rules (laughs) since Let It Go is that, we have some amount or
some level of the clothing that she wears is made out of ice. And it may or may not
be every bit of fabric. We absolutely use real
fabrics as our references and our performance points. So sometimes she’s in something
that looks like velvet. Or sometimes she’s in
something that is more silky and gossamer. But we’re able to add sparkle, and our sparkle is
always sort of described by it basically being ice. – That makes more sense
then like, the ice leggings. – Yeah.
– Yeah. There’s some element of it.
– That wouldn’t feel good. (laughs)
– With her boots, that was something that we had to really talk about and really consider. Because, you know, if you’re
wearing a leather boot it’s gonna move around
your leg in a certain way, but if we try to build it out of ice it’s gonna be restrictive. And so we settled with the
body of her boot being made I think out of suede, but
being embellished with ice with a full ice heel. And that was, that’s the– – I always loved the sound
effect when she drops her shoes down on the rock,
her boots on the rock. Yeah, it sounds like ice. – I believe in you, Elsa. More than anyone, or anything. (intense music) (growling) (drum beating)

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