Dan Sarto: So, in the new film, we’ve got lots of ice, lots of things that get frozen and then shattered. New ghosts, familiar haunts, little Mini-Pufts that go back to the original giant marshmallow. Can you give us an overview of the main visual effects that you did on the film?

Jason Greenblum: Sure. This was a unique case for us because we actually did the majority of the shots on the film. There were about 1,300, I think, and originally we were going to take the whole thing on ourselves. But time got crunched, and so we had to find some chunks that could be parceled out to other facilities. We ended up doing about 1,070 shots. We did everything from split screens to all the Mini-Pufts running around, Garakka – the demonic ice deity, and Patience the Lion. So, we had massive effects shots with storms – the storm coming in, the summer storm – and all the effects associated with Garakka.

It was fun for us, because, as Imageworks, we hadn't done a full show in a long time. So, we had to break out some old techniques and rethink some new paradigms. It's easier when you have one environment, a couple of characters, and you can build pipelines around that and then crank out the work. But, with this, it was so varied. For example, for the Sewer Dragon sequence, we did a bunch of car comps, which we hadn't done in a while – so it was refreshing in that respect. We got to sharpen our pencil on pretty much every VFX trope there is.