Mm.

So it's not, uh, just about like everything you feel is like a dep- very, very emotional or like, you know, there's a baby involved, there's a mother, and there, there's migration events happening is, and there's collapse of the forest, and there's ocean being dried out, and there's a lot of big effects or sequences we have to tackle, like, you know, tsunamis included, very, very comp- computational intensive, uh, that we have to make it visually appealing but, but also, uh, uh, manage to, to fit in with the timeframe that we have on the production at the same time.

Um, but I think the key is that we transfer that energy into a new life, but then afterward we showing a new world and how the world has been rebuilt to give a bit of new hope for the next generation really.

Uh, so yeah, I think, uh, being part of designing the world was, was really amazing.

Uh, just give you example of the carbonated forest as example that, uh, obviously we can't go to a normal forest anymore, uh, because carbon forest is not like the forest you would see nowadays.

Mm.

And, uh, as the rise of the, uh, the virtual production, as you know, a lot of, um, uh, companies, including The Lion King, uh, ha- has used a element of game engine, like virtual production technology to enhance the creativity for filmmaking.

Because the nature of the real time, the faster iterations, and allows director to have a more fun and more collaborative experiences with the post-production company.