How one Frozen animator is keeping the Disney magic alive from quarantine
. New stories were becoming fewer and fewer. Osmond says it was about two weeks ago that Lee, who also serves as Disney Animation's chief creative officer, called him up to circle back on his Olaf idea. "There’s just a real desire to put a smile on kids’ faces," he says. "I told her, 'I’ve actually been developing these.' At that point, she gave me a crew, which is awesome, and we’ve just been moving ahead.
There's not much to the shorts themselves. They're more vignettes that show Olaf twirling on the ice or going fishing or playing catch with sentient snowball pals. As the character often expresses, he loves making friends. The shorts are "sweet and calming," Osmond says. And his kids agree. The biggest hurdle, besides the aggravation of a dropped wifi connection here and there, was adjusting to life on a smaller screen.
It also took coordinating with Disney technicians to ensure Gad himself had everything he needed to record his voice part at home. The actor, admittedly, isn't a tech wiz, but the post-production crew delivered equipment to Gad's home. Video chats with Osmond also helped. "Normally the way we would do things is he’d come in [the studio], he’d sit in the booth, we’d talk back and forth, we’d go through pickups," Osmond explains.
Now that they have a team of animators and artists working on the shorts, later episodes will feature more attention to "lighting and more variety with environment." Plus, Osmond adds, "I don’t have to take on the load of animating this all by myself. I love animating Olaf, but we have such an amazing crew for them to get involved and add their touch to things."
What Osmond and his at-home team have done signals larger implications for the animation industry. Where live-action productions just can't go, animators have found various ways to adapt to the environment.
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