Polyester had five or so months to work on the animation. “Everybody was just so excited to have such creative freedom on this,” states Polyester producer Robyn Smale. “Everybody was really pretty great with staying on target and doing what they needed to do because everybody was so excited to see it come together. There is such an enormous amount of talent from the team we had working on this, and they each brought something so awesome to the table.”

Those separate sections utilized different animation and textural techniques, with each scene using a different tool. “That’s really what gives it a very different style and look for each scene,” says Dimmock. “The first scene is pretty much traditional Maya for animation and then rendered in Redshift with some modelling in ZBrush. The second scene was straight Toon Boom style animation. The third one is cel animation before we went back into 3D with Cinema4D. Scene six combined C4D with cel animation. I mean, there was everything. Every shot and every scene was totally different, and every palette was different, and that was kind of the overall instruction – to change as much as we could in between each of the scenes.”