When Eric Wachtman first saw the script for Kubo and the Two Strings, he was slightly terrified. Even for LAIKA's experienced CG look development lead, the sheer scale of the challenge was overwhelming.
The opening shots of the stop-motion hybrid film depict a small boat at night, during a storm, in the middle of an ocean. How were the team going to make those highly stylised waves look like realistic water? How were they going to do it at that scale?