C: What was your biggest concern with regards to the animation?
Boyd: Adding a natural movement to each individual label so that each label would appear unique and not like duplicated animation. For closer shots we gave the animation a butterfly feel and for wider shots we used a little bird motion.
C: Was there any trickiness to the compositing?
Lauric: The main trick, I guess, was having the labels look as real as possible, so they wouldn't be questioned even before they peeled off. Spritz on the label for a couple of shots was a little bit of a challenge but we ended-up making a tested texture plate in 2-D that was tracked in 3-D and then used for displacement again in the composite. Getting the right feeling of depth in the major "flocking" shots was important. There was also a completely backlit shot that saw the labels coming under an overpass and behind it was a lens flare. It is always the smallest of touches that can add volumes to the final look of a shot; you just gotta have the patience.
C: What about the overseas collaboration?
Boyd: It was great. We used [the time difference] to our advantage. Correction given after a days work in N.Y. would be done in our day, their night, so the next morning in N.Y. everything was ready for them, as if magically done over night.