The Art of How to Train Your Dragon

To come upon the Isle of Berk is scale is not pushed to quite that level The crescent-shaped tip of the like discovering a mountainous in the final version, the island still island is actually the only portion of Berk that has been fully modeled. forest in the middle of the ocean. makes an impressive statement. \"It \"Every time you see Berk outside Huge rocky peaks jut out from the features landscapes that are made of of the village, it's done by matte sea and reach into the rich blue of the stylized shapes to bring whimsy to painting. They've created trees, sky, with a lush, green oasis nestled the environment, but are treated with rocks, distant snow, grass, and other between the precipices. At its con- realistic lighting and surfacing to amazing touches that do a great job ception, Art Director Pierre-Olivier give a sense of tangible space. We all giving scale and detail to the island,\" Vincent envisioned a mou ntain felt that Berk should be a place you notes Visual Effects Supervisor so high as to triple the height of would want to visit,\" says Production Craig Ring. Hawaii's Mauna Kea, and although Designer Kathy Altieri. (priiVious pages) Vlllajje Sea Statues - Plerre-Oivier Vincent - digital paint. (left) Berl< Final - Plerre-Or!Vier Vincent - digital paint. (above) Berk Color - Zhaoping Wai - digital paint. (above right) Berk Coast Beach- Pierre-OiiYier Vinceot- digital paint

lt.,f « l1«l«HCtH~ «Ct to Crt«t& «H &Hv(roH~&Ht tk«t tf «f 11\\e«k «H~ tot.1~k «f OHl~ VlkiH~f Wot.il~ l1r«ve_, ~et l1eHev«l1\\e «H~ «ppe«HH~ &HOt.i~k to ~«ke (t « p\\«ce ~0\\.1 WOt.il~ W«Ht to v(f(t. - 6o1111lt Antoltt, fro~~ctr The ocean is also an integral part of the island of Berk. To bring energy and life to this vast body of water, the effects and lighting departments \"used depth, texture, and cloud patch reflections to create visual interest,\" says Visual Effects Supervisor Craig Ring. In general, the ocean has an all-encompassing displacement effect that incorpo- rates well-choreographed foam and splash effects. \"One of our effects team members wrote a tool to figure out where the ocean touches rocks, then used a paint package to apply foam into a 2D image, which he then projected back into the set. Another member of the team developed a system that automatically snaps curves around rocks that trigger a variety of pre-simulated splashes,\" explains Head of Effects Matt Baer. Tk(f wort~ k«f tke wd~kt of rt«Ht1j.. oH\\~ (t .,f ft.iper-f(t.e~. - (kr(f S«H~tf1', ~(rutor



Tke (ove The cove is a prominent location ing Supervisor Matt Paulson, whose the cove is locked offfor a majority Of ~n tke {et{ IH tke jit~.~ we in the fi lm, as it is the hidden department also had the task of of the time. The stiII camera draws cke~te(i. tke H~ktiH~ t ke ~o{t IH sanctuary in which Hiccup and set-dressing the massive stone walls more attention to re·flections on the tke cove. HoHe{tt~.~ (t.,{ re~U~j\\1$t\" Toothless establish their relationship. with foliage and tree roots in order to water, which are difficult to resolve ko\\e IH tke ~ro\\iH({.~ ve~ (i.tfjie\\1\\t To give the cove a sense of being a provide a more pleasant backdrop. in a 30 stereoscopic film. \"When to ~et \\(~kt IHto-{o we ji\\tere\"- safe-haven for these characters, art we tried faster environment map H~kt tkro\\i~k tke tree{.~ ~o\\iHce\"- It direction called for \"softer colors, the Although a calm body of water reflections- which is how the cliff off tke w~n{., p'i{ke({ It ~\"\"- p'i\\\\t\"- application ofmoss along trees, and seems like it would be easier to walls were initially projected onto calm water on the lake,\" recalls Head produce than a stormy ocean, the the water-weird depth problems lt \\iHt(\\ o\\ir {kot{ to\\({ tke {tof'\\j of Surfacing Sabrina Riegel. \"Even lake in the cove presented its own would occur, making the lake hard to we were \\oo~(\"~ for. the rocks are softer in style, modeled set of technical challenges. Whereas look at in 30, so we ended up using with softer edges and more rounded the cameras over the ocean shots ray tracing instead,\" explains Head - f(Rtk\\j Altieri, fro.t'1ctlo11 ~ef(,.,er shapes like sandstone,\" adds Model- were generally moving, and often of Effects Matt Baer. at a high speed, the camerawork in (,1bove) Lake Cove - Pierre·Oiivier Vincent- digital paint. (above right) Cove Overview- Nathan Fowkes- digital paint.

THERE TS ALSO a lovely wate,fall in the cove, which was builtfor another use in the.film and then installed in this location. It uses fullfluid simula- tion fo make waterflow across rocks and down, and it callsfor particle- rendering tools that allow it to break in the mist. \"Once you get a waterfall going and stay a safe distance from it, it adds a nice complexity in the background,\" notes Visual E.!Jects Supervisor Craig Ring. (above right) Cove Roots - Nathan Fow'~es- digital paint.(above) The Cove - Jason Turner &Luis Labrador - CG model.

L«tttA{c«fe{ 6e\\jotttA tke ActveHt\\ire Agreat deal of visual development artwork was created for other locations on the island ofBerk. While these scenic spots did not make it to the ftnal fi lm, they are nonetheless spectacular. Tke Tre~ In an earlier version of the story, adventure, all capturing the energy the young Vikings had to trek to and scale of Art Director Pierrc- fi nd a dragon rookery. Here arc a few Olivier Vincent's vision for a lush, ofthe breathtaking locations they sweepingly whimsical, and natural would have passed through on this wonderland. (left, above and right) The Trek- Pierre·Oiivler Vincent- digital paint.



At one time, the design team envisioned Berk as a more arctic isle, dressed in snow-capped mountains, icy arches, and glaciers. Although the white of the snow provided interesting visual contrast within the images, the production felt that the island should be a more warm and welcoming place. (lop) Berk Color - Zhaoping Wei- digital paint. (above) Berk Snow - Zhaoping Wei - digital paint. (right) Village Ice Arches - Pierre-Oiivier Vincent - digital paint.





A!though it is picturesque, the village is also a challenging place to occupy, given its slope and proximity to dangerous surf. \"It's as if the Vikings thought 'flat fields are stupid, and we are big and strong and don't need that,\"' explains Art Director Pierre-Olivier Vincent. The essence of Vincent's vision captured in his original black-and-white concept painting remains intact in the fi nal renders some four years later. (/ell) VIllage VIew - Pierre·Oiivier Vincent- digital paint.

THE VILLAGE was more storybook-like in an earlier version ofthe story when the main characters ofthefilm were younger. As appealing andfun cts these quaint hamlets were, they could never stand up to the.firepower ofthe film's deadly dragons. (above) Docks Concept - Mike Yamada - digital paint. (below) Village Model- Cundo Rabaudi - mixed media. (right) VIllage from Sea - Pali Shard!ow- d'gital paint.



The houses in the village offer a fun struggles and victories,\" according to dose of color and caricature that Production Designer Kathy Altieri. one might not expect from a society The look of the houses is brought as gruff as this. \"Our Vikings have back into a more realistic realm unlimited passion and energy for the \"by surfacing with heavily textured battles between themselves and the details such as moss-covered wood, dragons. They carved dragon heads a natural occurrence in the humid on their houses and placed scream- Nordic summers,\" adds Art Director ing Viking stone statues throughout Pierre-Otivier Vincent. the village as monuments to their Tke trR~OH ~otlf OH R ko\"fe ref1ectf WkRt t\\jft of trR~OH tke ko~eow.-.er tefeRtet tH tke fR{tJ RHt tke{e Rrt e~~le~f of WkRt tke~ kRve coH\"\"eret. - t(em- OIMer Vi.,ce.,t, Art ~lnrtor {lop) House Concept - Pierre·Olivier Vincent - dig~al paint. (above leff) VIllage Color key - Zhaop:ngWei - dgital paint. (above right) Viking Winter Houses- Pierre.Oivier Vincent- dig'lal paint. (left) VIking Chief House- Pierre·OUvier Vincem- dgr:al pam. {belolv} Viking Grass House - Pierre<lli'liet Vincent- dgftal paint. (right} Gothi House - Pierre-OhierV&neent - dgaal paint.







(prtwious pages) Houses Main - Pierre·Oiivier Vincent- digital paint (top /ell) VIllage Gale - Mike Yamada- penci. (lop right) Meade Hall Concept- Em~ Mitev- pencil & matker. (above left) House Concept - PietTe-Olivier Vinoent - (igi\\al paint (above right) Old Wrnkly's House - Paul Shardlow- digital paint (right) House Concepts - Pierre·Oiivier Vincent - matker.





-fbe Meade Hall, where a number of Matt Paulson. Even larger-than-life DESPJTE commonly held stereo- Stoick looks quite diminutive in this types, /likings did not regularly wear I important Viking societal events environment. Bu ilt upon huge square helmels with horns. But who today stones, this structure enforces the would recognize a /liking ifhe didn't take place, is the most impressive, concept that Viking traditions are have such armor on his head? Thus, solid structure on the island. The founded on strong, long-standing, such icons are in the movie. approach to the hall involves 125 and intimidating standards that will very steep stairs, and the main doors not sway. stand approximately sixty-eight feet tall, flanked by two imposing Viking sculptures. The sense of grandeur and intimidation continues once the doors open, wherein huge statues of Viking ancestors line the halls, and tapestries depicting historical battles and achievements adorn the walls. \"When we built this set, it was meant to be an impressive, big hall, but it's not until we load a character into it that you realize it's a REALLY big hall,\" explains Modeling Supervisor (left) Hall Front Doors- Kirsten Kawamura- digilal paint. (above) Statues- Kirsten Kawamura - cirg~al paint (belowJell) Meade Hall Viev1 - Pierre-OiMer Vincent - dgi!al paW. (below right) Meade Hall Beat - Jeff Snow- story sketch- Pierre·Oiivier Vincent - digital paint.



Tapestries- Kirsten Kawamura- digital paint.

I..Jeat detail has gone into the \\Tblacksmith shop set as it show- cases a number of important scenes in the film. \"We've painted the steps to show they are well-worn, as if grime is deeply ingrained from years of muddy boots walking on them,\" notes Head of Surfacing Sabrina Riegel. The stairs literally sag dtle to thoughtful modeling efforts, and the modelers also \"paid careful atten- tion to edges of tables and corners of structures because that tells so much about how old something is, or what materia l it is made from ,\" adds Mod- eling Supervisor Matt Paulson. (top) Blacksmith Shop Interior - Mel Zwyer - d.gital paint. (/efQ Blacksmith Shop Concept - Kirslen Kawamura- digtta! paint. (abolleJ Anvil and Bellows - Travis Kolte<- d;gital pant.

~e training grounds are one of I the more substantial structures built by the Vikings, featuring large statues ofancestors hewn from stone to signify the strength of their tribe and the long-standing traditions of their culture. This location is the arena in which the audience learns what the Vikings think they know about dragons. \"The Viking knowl- edge of dragons comes exclusively from brief, violent encounters in battle situations. They have practi- cal information such as how much fire they can breathe and what their weaknesses are, as opposed to what Hiccup learns in the extended time he spends with Toothless,\" explains Director Chris Sanders. (top) Training Ground Concept- Mike Yamada - digital paint (above left) Training Ground Carvings- K~sten Kawamura- tigital pain1. (abolle right} Training Ground Concept- Plerre-Oiivier Vmoent- d1gilal paint.

(above) Hammer Carvings and Hammer - Kirsten Kawamura- dig!tal paint. Wkett o~r V(k(tt~~ ~~e ~ k~~~erJ lt.,f (above right) Keg - Iuri lioi - design- Margaret Woller- color. Hot j~ft ~ ~lttk-~lttk-~lttk k~~~er. (right) Shark Rug - Pierre.Qiivier Vincent- peocil. (be!ow left) Mangler Sketch- Mel Z1vyer- pencil. 1er Hke ~ k~~e ke~v~ {totte. 1.,~ ttever (belorw right) Mini Manglers - Met Zwyer -<fogital paint evett ~e ~~\\e to Hft otte of tkofe tkltt~f. -1\\~tth.\\j Altier(, fro~~ctfo11 ~er(.,Her

Weapons comprise a good percent- up with items which were a little and architecture that reflected age of the prop builds in the film, unusual but recognizable enough to the intellectual simplicity of since Vikings are all about battling work in whatever capacity they were the culture through broad, dragons. This activity requires a intended. A perfect example of this simple shapes that are sturdy, whole armory of shields, maces, is the shark rug in Stoick's house, caricatured, and whimsical,\" axes, and other accoutrements. an idea that came to Art Director says Production Designer \"These Vikings are not fussy crafts- Pierre-Oiivier Vincent over four Kathy Altieri. Color choices men, but they are certainly enthusias- years earlier in the fi lm's develop- were also a bit more bold tic weapons-makers. Their weapons ment. \"It's a twist on the traditional than what traditional Viking are primitive and chunky, kind of bearskin rug that hunters would iconography suggests, but like their brains,\" notes Production have, but it expresses the overzeal- Art Director Pierre-Oiivier Designer Kathy Altieri. All props in ous aggression of the Vikings with a Vincent was inspired the film appear \"scuffed and stained, little bit of humor,\" explains Vincent. by the fact that \"scientific and nothing is new and clean,\" says Indeed, \"only a Viking would go out studies reveal that there are Head of Surfacing Sabrina Riegel. and pound a shark on the head just to pigments found on many of \"Water buckets have been sitting make a rug out of it,\" adds Produc- the great monuments of the around getting rusty, and axes are tion Designer Kathy Altieri. world such as the Parthenon, meant to be handed do\\vn from gen- proving that such structures eration to generation, so the handles There are also many detailed were much more colorful at one are darker where hand oils and sweat carvings and artifacts to be found time than they are known to be in have stained them over time.\" in the village. While research modern culture.\" shows that Viking constructs were With all of the props in the film, rudimentary and medieval, the film's a conscious effort was made to come design theory called for \"imagery (above) Axe Variants - Mel Zwyer- digital paint- Shields - Kirsten Kawamura- cfgital paint. WHILE THE DAUNTING Viking sculptures and !he dramatic tapestries (righl) Dragon Statue- Mel Zwyer- digital paint. illustrate the serious legacy ofthe culture, there is room for a bil ofhumor in Meade Hall: At one time, just inside the main doors a dragon statue stood as a \"stow your weapons\" station, much like an oversized pincushion.



(far left) Meade Hall Doors Statue- Ktrsten Kawamura - dig.tal paint. (abo•Jefelt) Carvings - Kirsten Kawamura- digital paint (center felt) Harbor Poles - Kirsten Kawamura- dig tal paint. (below felt) Defense Statues - Kirsten Kawamura - digital paint. (lop felt) Thorsday Carving - Kirsten Kawamura - digital paint. (top center) Training Carving - Kirsten Kawamura - digital paint. (top right) Menhir Statues - Kirsten Kawamura - d:gital paint. (above) Totems - Kirsten Kawamura- digital paint. (left) Rock Dragon - Kirsten Kawamura- digital pa·nt. (right) Hall Columns - KirstenKawamura- digital pa'nt. 131



V(~(\"' ~ejeH{e Tower~ ~ (oHtr«fttoH~ t .. l hile most shires of folklore dragons by day, standing as a perfect example of stone and Wprotected themselves by con- scale representing the strength and intimidation techniques of the Viking structing high stone walls along their people. By night they also stand as perimeter, that defense tactic simply beacons along the shore by having firelight glowing in their mouths. does not work when the enemy is airborne. \"To illustrate the fact that Catapults, slingshots, and this village is on constant dragon various examples of Middle Age alert, every shot of the set is meant machinery inspired the designs of to include a defense tower or defense the defense contraptions, and these contraption,'' notes Art Director mechanisms are used to launch rocks Pierre-Oiivier Vincent. (and even the occasional Viking) at their dragon targets. The \"screaming Viking\" defense towers serve two practical purposes. Their imposing presence wards off (far left) Trebuchet Tower - Mel Zvtyer - digital paint. (far /ell} Striker Tower - Mel Zwyer - d:gital paint. (above left) Braziers in Sky - Dominique Louis- digital painI. (above right) Slingshot Tower - Mel Zwyer - digital paint.

These vessels are bigger, more Tke rlcket\\j ~H~ rrec~r(o~~ W~\\kW~~{ tk~t te~~ to tke aggressive, and more outrageous ~ock{ ~re ~ ~re~t IH~tc~tloH of tke fe~r\\efSHeH (~H~ than actual Viking ships,\" notes Art t~ck of co~~oH ~eH~e) tke VlkiH~f k~~-tkere ~re Ho Director Pierre-Oiivier Vincent. To l1~HI{terf ~H~ tke r~~f~ ~re cte~r\\~ too {teer to 11e diversify the fleet in an efficient way, there are three basic boat designs f~feJ P~t If{ HotktH~ tke~ c~H.,t k~H~\\e! and a variety of interchangeable dragon heads, tails and prows that -f(lltk\\j Alt(£rij fro\"-wtlo11 ~£$(1}1!£r can be added or removed,\" explains Modeling Supervisor Matt Paulson. Vincent's earlier boat designs were more accurate portrayals of Viking ships, complete with sail stands on each of the boats. Due to the need to accommodate character movement on the limited boat deck, however, these sail stands were removed and replaced with the more traditionally recognized hanging sail setups. (above left) Kids Boat Front- Kirsten Kawamura- digital paint. (above right) Kids Boat Back - KirstenKawamura- digital paint. (right) Sails - Margaret Woller- digital pain!. (below) Dragon Prows - NicolasWeis- digital paint. (far right) Ballleshlp Front- Kirsten Kawamura - dig:tal paint.



1I~~~~ ?.. {lOp) Dummy Flghl - Mel Zwye~ - diglal pail!. {atx:Ne left) Chariot - Paul Shardlow- digital paint. (atx:Ne righl) Dragon Malntenence - Wolbert Pifl3ar - <fJQilal paint.

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Sto\"j The story team carries perhaps the a big problem for Hiccup to fix in act tainment opportunities; they actively most daunting task of a film crew: three,\" notes Director Dean DeBlois. move the storyli ne forward while Jfthe storyline they craft isn't solid, givi ng the audience an exciting adven- then everything else that appears One of the most involved efforts ture along the way. on the screen is inconsequential. In of the story team is to find the proper How 10 Train Your Dragon, the story combination of drama, humor, and The sense of scale that was begins with the Dragons and Vikings action. The team put great thought predominant in design theory for as enemies. As in the original book, into developing the emotional sto- How to Train Your Dragon was also Hiccup and Toothless develop a pow- ryline first and tben letting comedic an important tenet for the story. \"We erful, secret relationship within this moments fall into place as long as knew we wanted a sense of ' David hostile atmosphere. \"This dynamic they did not undercut the drama of a and Goliath' in the movie, where the gave the story an interesting act two, scene. \"Our humor comes from the smallest, least considered character with a double life to follow: By day heart of the characters, their unique of the story has to face something Hiccup was becoming a true Viking personalities and characteristics, more colossal. That is how we ended up and by night he was consorting with than anything,\" says Sanders. The with a physically, and metaphorically, the enemy,\" explains Director Chris way Hiccup jokes with his detractors huge dragon at the end of the movie,\" Sanders. \"Those two worlds are going and the way Toothless makes dragon explains Head of Story Alessandro to eventually collide-it's the nature flight even more exciting for his Carloni. Plus, it is simply rewarding of the structure-so it gave us a human riders are perfect examples of to watch how Hiccup and Tooth- great opportunity to have something this character-based humor. Similarly, less together are much stronger than collapse in the second act, and then the numerous action-packed scenes either one would have been individu- of this film are not just pure enter- ally in fighting the Red Death. (prev'o<WSpages) CG Still.(tar fell) Sequence 600 \"Hiccup Finds 11\\e Dragon\"- story skelch - Tom Oovens -dlgilal pam.(tell} Sequence 1100\"Siolck Shows an lnleresl\" - slory skelch- Ben Ballislrerl- digilal palnl. {above) Sequence 1050 \"Forbidden Friendship\" - slory skelch- Tron Mai- d;gilal palnl. {right) Sequence 1900 \"Meltdown\" - slory skelch -John Pugtisi-d.gllal pain!. (following pages) Sequence 2475 \"Bailie In lhe Clouds\" -stO<y sl<elch-CivisSandals - pencj.

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The layout department sets the stage The layout department also Hiccup's perspective. For instance, in for the film by placing characters greatly affected the 3D stereoscopic the shot where Hiccup first catches a and props in the modeled environ- experience through its set dressing glimpse of the dragon, we follow him ments, and then turns the camera on. decisions. \"While assembling sets, with a Steadicam as if the audience It is their job to use the \"camera\" to we made sure to establish many is walking right alongside Hiccup. support the storytelling. levels of foliage because 3D stereo- The camera travels to the ridge over scopic filmmaking is at its best when Hiccup's shoulder and just captures a The cinematography in How to a set gives us plenty of objects in any glimpse of the dragon before cutting Train Your Dragon is more realistic composition to convey that depth,\" away to wait for the audience to have than one might expect in the CG adds Zimmerman. a moment to experience the elation world, where almost any camera with him,\" explains Zimmerman. In scenes where there is little move is possible. \"Since our fi lm is dialogue, such as when Hiccup (above) Toothless Eyes - CG still. very realistica lly designed , our cin- first sees the downed dragon in the (righl) Hiccup Hill- CG sttl. ematic design ca lls for live action- forest, camerawork also conveys the inspired camera motion to help emotional arc visually by accentuat- support the strong and often serious ing point ofview. \" In this scene, we emotions in our story,\" explains Head try to experience the discovery from of Layout Gil Zimmerman.

We oH\\\\_1 RCCeH'OiRte tke 3~ (teno(COf(CeXferteHCe (., or~RH(c., (tonJ-'*rlveH ~o~eHtf to '*d(ver tke e~otloH of R fceHe., (\\ick R( wkeH HlcC\\if jtr(t n Rcke( o\\it to towk Tootk\\eff. We WRHt tke R\\i'*teHce to fee\\ tkRt Hervo\\if exclte~eHt. - !T(I u~~tnt!Rtl, HeR~ of LR\\_10\\'It (aboveright) Hiccup Peek - CG still. (below righl) Hiccup Back - CG stilL LAYOUTADDS to the audience we come up to the top ofthe ridge, into the anxiety in Hiccup's point experience by utilizing 3D stereo- you'llnotice how /.he two cameras are scopic technology to create an almost aligned, and the image is now ofview at seeing this dragon.for emotional and sometimes physical essentiallyfiat and physically easier thefirst time. The audience has effect in the filmgoer. \"To build for the audience tofocus on. Then the anticipation and canfeel the anxiety in the audience, we create as Hiccup drops down, the cameras physical e.xcitement o.fthe moment. contrast in the 3D stereoscopic separate and the image becomes It~~ similar to how an artist uses color depth, which generates c1 physical very dimensional, which now makes in a scene or over the course ofa and perceptual reaction in the the viewer's eyes refocus, causing a movie, with mono-saturated looks audience,\" explains Head ofLayout slight postural sway and increase in when it's an emotional downturn and Gil Zimmerman. \"For example, as heart rate, which hopefully translates super-saturation during a big, bright, musical moment. \"

Animators provide the physical laying down his neck to be killed, when final and all the elements are acting for the characters, and just would be a draw for compassion placed into the scene. ln support like the actors providing the voices, from both Hiccup and the audience,\" of the action-packed animation in animators think about character recalls Head of Character Animation this fi lm, the character effects team motivation in each scene before em- Simon Otto. had to contend with numerous fl ying barki ng on their portrayal. Toothless sequences, in which humans and was the most challenging character The animation team also spent dragons are moving at rates exceeding to animate in How to 1J·ain Your an extraordinary amount of time and one hundred miles per hour. Way Dragon, given his importance in the focus to get the \"Forbidden Friend- beyond the normal scope of making film and lack of verbal communica- ship\" sequence right, because they clothing and hair move naturally, the tion. For example, animators had to knew the scene when Hiccup and team had to believably portray the think through scenarios like \"how Toothless first get to know one an- effects of having a strong wind in the would a wild animal act in captiv- other was \"the heart of the movie, and characters' faces, where their clothes ity? \" while working on the sequence that ifwe failed that we would lose the flutter, the hair blows around, and where Hiccup first approaches the audience at the end of the story,\" says props, like Hiccup's cheat sheet, flap injured Toothless. \"At this point in Otto. The team studied storyboards in the wind. \"It's really challengi ng the story, we knew we needed to and set up key poses for the entire se- to make these things look good. establish Toothless as a creature, quence before assigning specific shots The character effects team has to not a personality, so we brought in to animators, and they also tested the hit just the right blend of realistic an animal behavior consultant to Toothless rig to see if it could handle wind, keeping the characters' hair gain some insight. She taught us certain inventive movements, such as in a pleasing shape. When they've that it would try to get away imme- sitting upright on its tail. done their job well, it makes a huge diately, but for dramatic purposes, difference in the feeling ofspeed in we thought that having Toothless be The character effects the flying shots,\" explains Visual more nobly resigned to his fate, just department is responsible for making Effects Supervisor Craig Ring. sure that the animated characters look the way they were intended

IH o\\1r jil~.,$ eHvlroH~eHtJ {t\\jtlt.e\"- {kRfe{ Rre ~ro\\1~kt IHto reR\\(t~ ~~ teKt\\-ire RH\"- H~kt to creRte R {eH{e of ~e\\levR~IHt\\j. Tkl{ (f Rl{o tr\\-ie (., RHI~RtloHJ wkere {t~\\lt.e\"­ ckRrRcter{ Rre ~lveH HRt\\-irRH{tlc ~ove~eHt{J ~e{t\\-ire{J RH\"- e~otloH{ to creRte tkRt {R~e \\eve\\ of rercelve\"- reRH$~. - Hw.oHOtto, H ut~ of (!<Ar~tcttr AH(w.~ttloH (far left) Animation Key Poses. (left) CG still. (above) CGstill. (riglll) CGstill.





lffect{ (top) CG still. (above) CG still. (below) CG still. (below) Hiccup Hill - CG still. The effects team is charged with tree as needed. These elements are creating all elements with motion placed thoughtfully to show fire that outside of character animation in a envelopes its host prop. \"Seei ng the CG fi lm. Considering the scale of fire interact and cu rl around these action portrayed in How to Train envi ronments was really important. Your Dragon, this responsibility Our fi re has organ ic-shaped emmis- required ambitious, focused effort. sion patterns so it can wrap around Beyond the obvious fire-breathi ng objects to create a more authentic dragon complexities, the team was look, which we use on all the braziers also responsible for producing com- in the ·fi lm as well,\" explains Head of plicated fire destruction, extensive Effects Matt Baer. rock shattering, and interactive cloud effects . Dragon-induced rock shattering was another key effect. To portray Fire-breathing dragons inflict the damage incu rred by the Red massive fiery destruction upon Death smashing through a volcanic their targets, so the effects team rock wall, the effects team built had to come up with efficient ways \"cookie cutters\" into the cliff wall to ignite props and sets. The team to break it up into fragments. \"First essentially built modular fire blocks we paint seed particles all over rock that, li ke snap-on toy building sets, models and feed thousands of them can be stuck on a roof, boat, or into rigid body simulators, which can