In depth consideration was paid to the colour palette and lighting schemes. “Regarding the colour palette, or extra particularly the lighting if you’ll, I used to be cautious and intentional as to how I needed to depict that,” Shinkai remarks. “All through the movie there are over 2,000 pictures, and I personally oversaw the coloring and lighting for every certainly one of them. Usually for animation of this caliber, Suzume would have her personal colour palette and maybe two different variants for the way she would look within the morning, midday, the place there’s robust daylight, and evening when there isn’t as a lot gentle. I’m positive that could be a results of making an attempt to optimize the method of animating such a massive-scale film. However I needed to step exterior of the that field and go shot by shot. Relying on what was within the background, the place the solar was hitting and the way tight the shot was, I adjusted the colour palette to verify we had been evoking the temper that I needed. You could possibly take a torso-up shot of Suzume and the colour of her eyes are completely different from a super-tight shot the place you simply see her eye. This isn’t usually one thing you’ll do in animation of this scale. However that produces an identical impact to live-action pictures the place lower by lower you get nuances of what the lighting is doing, and even the pores and skin tone and temper will change from shot to shot. As a substitute of blanket-saying ‘That is Suzume’s colour,’ I needed to manage shot by shot how that will look, and that’s how we resulted in what you see on the display.”
