Out of all the animals that appear in the "Happy Working Song" sequence, the only real animals filmed on set were rats and pigeons. The real animals captured on film aided Tippett Studio in creating CG rats and pigeons, which gave dynamic performances such as having pigeons that carried brooms in their beaks and rats that scrubbed with toothbrushes. On the other hand, all the cockroaches were CG characters.
Pip, a chipmunk who can talk in the 2D world of Andalasia, loses his ability to communicate through speech in the real world so he must rely heavily on facial and body gestures. This meant the animators had to display Pip's emotions through performance as well as making him appear like a real chipmunk. The team at Tippett began the process of animating Pip by observing live chipmunks which were filmed in motion from "every conceivable angle", after which they created a photorealistic chipmunk through the use of 3D computer graphics software, Maya and Furrocious.When visual effects supervisor Thomas Schelesny showed the first animation of Pip to director Kevin Lima, he was surprised that he was a looking at CG character and not reference footage. To enhance facial expressions, the modelers gave Pip eyebrows, which real chipmunks do not have. During the filming of scenes in which Pip appears, a number of ways were used to indicate the physical presence of Pip. On some occasions, a small stuffed chipmunk with a wire armature on the inside was placed in the scene. In other situations, a rod with a small marker on the end or a laser pointer would be used to show the actors and cinematographer where Pip is.
Unlike Pip, the Narissa dragon was allowed to be more of a fantasy character while still looking like a living character and a classic Disney villain.The CG dragon design was loosely based on a traditional Chinese dragon and Susan Sarandon's live-action witch. When filming the scene which sees the transformation of Narissa from a woman into a dragon, a long pole was used to direct the extras' eyelines instead of a laser pointer. Set pieces were made to move back and forth in addition to having a computer-controlled lighting setup and a repeatable head on the camera that were all synchronized together. In the film's final sequence, in which Narissa climbs the Woolworth Building while clutching Robert in her claws, a greenscreen rig was built to hold Patrick Dempsey in order to film his face and movements. The rig was a "puppeteering" approach that involved a robotic arm being controlled by three different floor effects artists.
Costume Design for Enchanted
All the costumes in the film were designed by Mona May, who had previously worked on Clueless, The Wedding Singer and The Haunted Mansion. To create the costumes, May spent one year in pre-production working with animators and her costume department of 20 people, whilst she contracted with five outside costume shops in Los Angeles and New York.[27] She became involved in the project during the time when the animators were designing the faces and bodies of the characters as they had to "translate the costumes from two-dimensional drawings to live-action human proportion".[28] Her goal was to keep the designs "Disneyesque to the core but bring a little bit of fashion in there and humor and make it something new".[28] However, May admitted this was difficult "because [they're] dealing with iconic Disney characters who have been in the psyche of the viewing audience for so long".[29]
For the character of Giselle, her journey to becoming a real woman is reflected in her dresses, which become less fairy tale-like as the film progresses. Her wedding dress at the beginning of the film directly contrasts her modern ball gown at the end of the film.[27] The wedding dress served to provide a "humongous contrast to the flat drawings" and to accentuate the image of a Disney Princess.[28] In order to make the waist look small, the sleeves were designed to be "extremely pouffy" and the skirt to be as big as possible, which included a metal hoop that holds up 20 layers of petticoats and ruffles.[29] Altogether, 11 versions of the dress were made for filming, each comprised 200 yards (183 m) of silk satin and other fabric, and weighed approximately 40 pounds (18 kg).[27][29] On the experience of wearing the wedding dress, Amy Adams described it as "grueling" since "the entire weight was on [her] hips, so occasionally it felt like [she] was in traction".[30]
Unlike Giselle, Prince Edward does not adapt to the real world and James Marsden, who plays Edward, had only one costume designed for him. May's aim was to try "not to lose [Marsden] in the craziness of the outfit... where he still looks handsome".[28] The costume also included padding in the chest, buttocks and crotch, which gave Marsden the "same exaggerated proportions as an animated character"[27] and "posture - his back is straight, the sleeves are up and never collapse".[28]
May was delighted that Lima "went for something more fashion-forward" with Susan Sarandon's Queen Narissa.[27] She decided to make her look like a "runway lady",[28] wearing something that is "still Disney" but also "high fashion, like something John Galliano or Thierry Mugler might design".[29] Since Narissa appears in three mediums: 2D animation, live-action and computer animation, May had to make sure that the costume would be the same throughout in terms of "color, shape and texture".[29] The costume for Narissa consisted of a leather corset and skirt, which looked "reptilian", as well as a cape.[29] Working with the animators, May incorporated parts of the dragon's form into the costume; the cape was designed to look like wings, the layers of the skirt wrap around like a tail and a crown that would turn into horns during Narissa's transformation into a dragon.
