In this "ice crystals" scene, one spaceship is trying to locate and pursue another through a field of giant ice formations 50 miles long that have clustered together to form an ice ring shaped like a galaxy. The scene is marked by the suspense tension that generates as the ships move through the reflective surfaces of this dramatic and dangerous "hall of mirrors." The filmmakers compare it to harrowing chases seen in films such as The Hunt For Red October and Run Silent, Run Deep.
Inspired by Cruden's ice crystal designs, Dozoretz and Smith first helped define the look of the scene by developing pre-visualization animatics. "We especially liked the reflective surfaces that Phil came up with," says Martin Smith. "The house of mirrors effects let us play tricks on the audience and raises the intensity of the scene. We hope it keeps them on the edge of their seats."
Dozoretz also points out that in some ways their work on TITAN A.E. eclipses even that of The Phantom Menace. "On TITAN A.E. we did about 120 fully 3-D final effects shots in 58 days, which actually blows away even Star Wars standards."
The experience on TITAN A.E. surprised Smith and Dozoretz, who initially had resisted the idea of working on an animated film. "Working on an animated feature really freed us up," notes Dozoretz. "We felt completely uninhibited by the genre. Adds Smith: "We ended up having a fantastic time. It was very exciting for us."
P.O.V.D.E also did key conceptual and effects work on the Wake Angels sequence, in which Cale gets his first chance to drive a spaceship through a cathedral-like nebula, as dolphin-like space creatures glide playfully alongside. The 3-D animation production company Reality Check Studios finalized the scene's 3-D shots.
In addition, P.O.V.D.E. helped pre-visualize an action-packed chase sequence set on the planet Sesharrim. The complex scene, conceived by Don Bluth, and produced at Fox Animation Studios, has the Drej capturing Cale and learning the location of the Titan. The camera flies around explosive hydrogen trees that actually look like they're breathing, amid a mix of numerous 2-D and 3-D characters and environments.
Sesharrim, with its dark reds, shadows and brightly colored hydrogen trees, points to the film's use of colors and lighting to create particular emotions and atmospheres — a signature quality of Bluth and Goldman's films. "We always try and orchestrate the colors, much as a composer works with music," Bluth explains. "The vibrations we send at you with color and sound impart emotions. Our job is to find the colors that represent the proper emotion."
TITAN A.E.'s unusual lighting scheme — harsh computer light, very definite shadows and strong industrial light — also provide a live action look.
This lighting is important to the film's overall look, which Cruden terms "industrial design." He continues: "Everything is metal; there is no plastic. We took a live action approach to the design, so that a production designer on a live action film could have built sets from our work." Schematic drawings, perfectly to scale, were even made of the Valkyrie interiors and exterior, the latter having a sleek design ("think Corvette," he says).
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