We use a 3-D computergenerated character on a screen that we can manipulate, kind of like a puppet. At first, the character doesn’t have any expression on their face, and their body is standing straight. We make subtle changes to different parts of the character’s body, like slightly shifting a shoulder or foot, to slowly build the character’s movement.
We have more than 2,000 points throughout the body that we can adjust. Each joint—or place where two or more bones fit together, like a knuckle, wrist, or elbow—can rotate in different ways. And the face has hundreds of adjustable parts we can control, so we can show a wide range of emotions.
I do a first pass animating what I think the directors are looking for, and they review my work in daily meetings. Then I revise the animation until it’s just right.