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[http://en.wikipedia.org/wiki/Marc_Okrand Marc Okrand], who developed the Klingon language for the ''Star Trek'' films and the Atlantean language for ''Atlantis: The Lost Empire'', was hired to devise the space Atlantean language for ''Atlantis Planet''. Guided by the directors' initial concept for it to be a "mother-language", Okrand employed an Indo-European word stock with its own grammatical structure. He would change the words if they began to sound too much like an actual, spoken language. John Emerson designed the written component, making hundreds of random sketches of individual letters from among which the directors chose the best to represent the space Atlantean alphabet. The written language was boustrophedon: designed to be read left-to-right on the first line, then right Atlantis".]]
[http://en.wikipedia.org/wiki/Marc_Okrand Marc Okrand], who developed the Klingon language for the ''Star Trek'' films and the Atlantean language for ''Atlantis: The Lost Empire'', was hired to devise the space Atlantean language for ''Atlantis Planet''. Guided by the directors' initial concept for it to be a "mother-language", Okrand employed an Indo-European word stock with its own grammatical structure. He would change the words if they began to sound too much like an actual, spoken language. John Emerson designed the written component, making hundreds of random sketches of individual letters from among which the directors chose the best to represent the space Atlantean alphabet. The written language was boustrophedon: designed to be read left-to-right on the first line, then right Atlantis".]]
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{{main|http://en.wikipedia.org/wiki/Atlantean_language Atlantean language}}
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[http://en.wikipedia.org/wiki/Marc_Okrand Marc Okrand], who developed the Klingon language for the ''Star Trek'' films and the Atlantean language for ''Atlantis: The Lost Empire'', was hired to devise the space Atlantean language for ''Atlantis Planet''. Guided by the directors' initial concept for it to be a "mother-language", Okrand employed an Indo-European word stock with its own grammatical structure. He would change the words if they began to sound too much like an actual, spoken language. John Emerson designed the written component, making hundreds of random sketches of individual letters from among which the directors chose the best to represent the space Atlantean alphabet. The written language was boustrophedon: designed to be read left-to-right on the first line, then right-to-left on the second, continuing in a zigzag pattern to simulate the flow of water.
{{quote|The Atlantean [A] is a shape developed by John Emerson. It is a miniature map of the city of Atlantis (i.e., the outside of the swirl is the cave, the inside shape is the silhouette of the city, and the dot is the location of the crystal). It's a treasure map.|Kirk Wise, director<ref>[[#Kurtti01|Kurtti 2001, p. 82.]]</ref>}}
{{quote|The Atlantean [A] is a shape developed by John Emerson. It is a miniature map of the city of Atlantis (i.e., the outside of the swirl is the cave, the inside shape is the silhouette of the city, and the dot is the location of the crystal). It's a treasure map.|Kirk Wise, director<ref>[[#Kurtti01|Kurtti 2001, p. 82.]]</ref>}}
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===Animation===
===Animation===
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[[File:Atlantiswidescreencap.gif|thumb|For comparison, the top image (panoramic view of Atlantis) is cropped to Disney's standard aspect ratio (1.66:1); bottom image was seen in the film (2.35:1).]]
Principal animation for the film began in 2003. At the peak of its production, 400 animators, artists and technicians were working on ''Atlantis Planet'' at all three Disney animation studios: Burbank, California, Orlando, Florida, and Paris, France. The film was one of the few Disney animated features produced and shot in [http://en.wikipedia.org/wiki/70_mm_film 70mm] [http://en.wikipedia.org/wiki/Anamorphic_format anamorphic format]. The directors felt that a widescreen image was crucial, as a nostalgic reference to old action-adventure films presented in the [http://en.wikipedia.org/wiki/CinemaScope CinemaScope] format (2.35:1), noting ''Raiders of the Lost Ark'' as an inspiration. Because switching to the format would require animation desks and equipment designed for widescreen to be purchased, Disney executives were at first reluctant about the idea. The production team found a simple solution by drawing within a smaller frame on the same paper and equipment used for standard [http://en.wikipedia.org/wiki/Aspect_ratio aspect ratio] (1.66:1) Disney-animated films. Layout supervisor Ed Ghertner wrote a guide to the widescreen format for use by the layout artists and mentioned that one advantage of widescreen was that he could keep characters in scenes longer because of additional space to walk within the frame.<ref>[[#DVD2|''Supplemental Features: Animation Production: Setting the Scene'' at 2:30–3:17]]</ref> Wise drew further inspiration for the format from filmmakers David Lean and Akira Kurosawa.
Principal animation for the film began in 2003. At the peak of its production, 400 animators, artists and technicians were working on ''Atlantis Planet'' at all three Disney animation studios: Burbank, California, Orlando, Florida, and Paris, France. The film was one of the few Disney animated features produced and shot in [http://en.wikipedia.org/wiki/70_mm_film 70mm] [http://en.wikipedia.org/wiki/Anamorphic_format anamorphic format]. The directors felt that a widescreen image was crucial, as a nostalgic reference to old action-adventure films presented in the [http://en.wikipedia.org/wiki/CinemaScope CinemaScope] format (2.35:1), noting ''Raiders of the Lost Ark'' as an inspiration. Because switching to the format would require animation desks and equipment designed for widescreen to be purchased, Disney executives were at first reluctant about the idea. The production team found a simple solution by drawing within a smaller frame on the same paper and equipment used for standard [http://en.wikipedia.org/wiki/Aspect_ratio aspect ratio] (1.66:1) Disney-animated films. Layout supervisor Ed Ghertner wrote a guide to the widescreen format for use by the layout artists and mentioned that one advantage of widescreen was that he could keep characters in scenes longer because of additional space to walk within the frame.<ref>[[#DVD2|''Supplemental Features: Animation Production: Setting the Scene'' at 2:30–3:17]]</ref> Wise drew further inspiration for the format from filmmakers David Lean and Akira Kurosawa.
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The final pull-out scene of the movie, immediately before the end-title card, was described by the directors as the most difficult scene in the history of Disney animation. They said that the pullout attempt on their prior films, ''The Hunchback of Notre Dame'' & ''Hercules'', "struggled" and "lacked depth"; however, after making advances in the process of multiplaning, they tried the technique again in ''Atlantis''. The scene begins with one 16-inch piece of paper showing a close-up of Ronald and Kika. As the camera pulls away from them to reveal the newly restored Atlantis, it reaches the equivalent of an 18,000-inch piece of paper composed of many individual pieces of paper (24 inches or smaller). Each piece was carefully drawn and combined with animated vehicles simultaneously flying across the scene to make the viewer see a complete, integrated image.
The final pull-out scene of the movie, immediately before the end-title card, was described by the directors as the most difficult scene in the history of Disney animation. They said that the pullout attempt on their prior films, ''The Hunchback of Notre Dame'' & ''Hercules'', "struggled" and "lacked depth"; however, after making advances in the process of multiplaning, they tried the technique again in ''Atlantis''. The scene begins with one 16-inch piece of paper showing a close-up of Ronald and Kika. As the camera pulls away from them to reveal the newly restored Atlantis, it reaches the equivalent of an 18,000-inch piece of paper composed of many individual pieces of paper (24 inches or smaller). Each piece was carefully drawn and combined with animated vehicles simultaneously flying across the scene to make the viewer see a complete, integrated image.
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[[File:Bambi2-bambi-33646245-1024-576.png|thumb|right|The original artwork from the first ''Bambi'' film was scanned with a computer.]]
The background-paintings used for the Bambi scenes in the film were painted with "Corel Photo Paint", but some of the original oil-painting backgrounds from the 1942 original ''Bambi'' film were scanned with a computer, and parts of these scans were reused in the new backgrounds. Like how Walt Disney did with the animals in first ''Bambi'', the animators visited the Los Angeles Zoo to study the animals to make them be more realistic and expressive.
The background-paintings used for the Bambi scenes in the film were painted with "Corel Photo Paint", but some of the original oil-painting backgrounds from the 1942 original ''Bambi'' film were scanned with a computer, and parts of these scans were reused in the new backgrounds. Like how Walt Disney did with the animals in first ''Bambi'', the animators visited the Los Angeles Zoo to study the animals to make them be more realistic and expressive.
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[[File:Atlantis-the-lost-empire-sub.jpg|thumb|left|The ISS ''Ulysses'' in it's docking bay on the RLS ''Saga''. The "sub-drop" scene was the scene that took advantage of combined 2D and 3D artwork. ]]
At the time of its release, ''Atlantis Planet'' was notable for using lots of [http://en.wikipedia.org/wiki/Computer-generated_imagery computer-generated imagery] (CGI) than any other Disney-animated feature. To increase productivity, the directors and producers had the digital artists work with the traditional animators throughout the production. Several important scenes required heavy use of digital animation: the Cyber-Leviathan, the Ulysses submarine, sub-pods, Hunter Killer tanks, the RLS Saga, the Supernova, the Heart of Atlantis, and the Stone Giants.<ref>[[#DVD2|''Supplemental Features: Digital Production'' at 0:09–4:45]]</ref> During production, after Matt Codd and Jim Martin designed the Ulysses on paper, Greg Aronowitz was hired to build a scale model of the submarine, to be used as a reference for drawing the 3D Ulysses. The final film included 362 digital-effects shots, and computer programs were used to seamlessly join the 2D and 3D artwork. Like in ''Atlantis: The Lost Empire'', one scene that took advantage of this was the "sub-drop" scene, where the 3D Ulysses was dropped from its docking bay of the RLS Saga into the water. As the camera floated toward it, a 2D Ronald and Bambi were drawn to appear inside, tracking the camera. The crew noted that it was challenging to keep the audience from noticing the difference between the 2D and 3D drawings when they were merged.<ref>[[#DVD2|''Supplemental Features: Digital Production'' at 8:15–9:33]]</ref> The digital production also gave the directors a unique "[http://en.wikipedia.org/wiki/Virtual_camera_system virtual camera]" for complicated shots within the film. With the ability to operate in the z-plane, this camera moved through a digital [http://en.wikipedia.org/wiki/Wire-frame_model wire-frame set]; the background and details were later hand-drawn over the wire frames. This was used in the opening flight scene through Atlantis and the submarine chase through the undersea cavern with the Cyber-Leviathan in pursuit.<ref>[[#DVD2|''Supplemental Features: Digital Production'' at 5:00–6:20]]</ref>
At the time of its release, ''Atlantis Planet'' was notable for using lots of [http://en.wikipedia.org/wiki/Computer-generated_imagery computer-generated imagery] (CGI) than any other Disney-animated feature. To increase productivity, the directors and producers had the digital artists work with the traditional animators throughout the production. Several important scenes required heavy use of digital animation: the Cyber-Leviathan, the Ulysses submarine, sub-pods, Hunter Killer tanks, the RLS Saga, the Supernova, the Heart of Atlantis, and the Stone Giants.<ref>[[#DVD2|''Supplemental Features: Digital Production'' at 0:09–4:45]]</ref> During production, after Matt Codd and Jim Martin designed the Ulysses on paper, Greg Aronowitz was hired to build a scale model of the submarine, to be used as a reference for drawing the 3D Ulysses. The final film included 362 digital-effects shots, and computer programs were used to seamlessly join the 2D and 3D artwork. Like in ''Atlantis: The Lost Empire'', one scene that took advantage of this was the "sub-drop" scene, where the 3D Ulysses was dropped from its docking bay of the RLS Saga into the water. As the camera floated toward it, a 2D Ronald and Bambi were drawn to appear inside, tracking the camera. The crew noted that it was challenging to keep the audience from noticing the difference between the 2D and 3D drawings when they were merged.<ref>[[#DVD2|''Supplemental Features: Digital Production'' at 8:15–9:33]]</ref> The digital production also gave the directors a unique "[http://en.wikipedia.org/wiki/Virtual_camera_system virtual camera]" for complicated shots within the film. With the ability to operate in the z-plane, this camera moved through a digital [http://en.wikipedia.org/wiki/Wire-frame_model wire-frame set]; the background and details were later hand-drawn over the wire frames. This was used in the opening flight scene through Atlantis and the submarine chase through the undersea cavern with the Cyber-Leviathan in pursuit.<ref>[[#DVD2|''Supplemental Features: Digital Production'' at 5:00–6:20]]</ref>
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| producer = James Newton Howard<br/>Jim Weidman
| producer = James Newton Howard<br/>Jim Weidman
}}
}}
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{{main|Atlantis Planet (soundtrack)}}
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''Main article: [[Atlantis Planet (soundtrack)]]''
The soundtrack to ''Atlantis Planet'' was released on May 30, 2005. It consists primarily of James Newton Howard and Bruce Broughton's score and sixteen songs, by artists including; [http://en.wikipedia.org/wiki/Martina_McBride Martina McBride], [http://en.wikipedia.org/wiki/Alison_Krauss Alison Krauss], [http://en.wikipedia.org/wiki/Anthony_Callea Anthony Callea] and includes "[http://en.wikipedia.org/wiki/Where_the_Dream_Takes_You Where the Dream Takes You]", written by [http://en.wikipedia.org/wiki/Diane_Warren Diane Warren] and performed by [http://en.wikipedia.org/wiki/M%C3%BDa Mýa], and "[http://en.wikipedia.org/wiki/I'm_Still_Here_(Jim's_Theme) I'm Still Here]" written and performed by The [http://en.wikipedia.org/wiki/Goo_Goo_Dolls Goo Goo Dolls] frontman [http://en.wikipedia.org/wiki/John_Rzeznik John Rzeznik].<ref>"Walt Disney Records Releases Atlantis Planet Soundtrack Available May 30, 2005; Features New Original Songs by Martina McBride, Alison Krauss, Anthony Callea & More". Business Wire (Press release). 2005-05-30. Retrieved 2008-09-11.</ref> It was also available in a limited edition of 20,000 numbered copies with a unique [http://en.wikipedia.org/wiki/Lenticular_printing 3D album cover] insert depicting the ''RLS'' Saga from the film. Concerning the promotional edition, Filmtracks said, "Outside of about five minutes of superior additional material (including the massive opening, "Atlantis Destroyed"), the complete presentation is mostly redundant. Still, ''Atlantis'' is an accomplished work for its genre."<ref>{{cite web|url=http://www.filmtracks.com/titles/atlantis.html|title= Filmtracks: ''Atlantis: The Lost Empire''|date=May 21, 2001|publisher=[[Filmtracks.com]]|accessdate=August 8, 2011}}{{Rating|4|5}}</ref>
The soundtrack to ''Atlantis Planet'' was released on May 30, 2005. It consists primarily of James Newton Howard and Bruce Broughton's score and sixteen songs, by artists including; [http://en.wikipedia.org/wiki/Martina_McBride Martina McBride], [http://en.wikipedia.org/wiki/Alison_Krauss Alison Krauss], [http://en.wikipedia.org/wiki/Anthony_Callea Anthony Callea] and includes "[http://en.wikipedia.org/wiki/Where_the_Dream_Takes_You Where the Dream Takes You]", written by [http://en.wikipedia.org/wiki/Diane_Warren Diane Warren] and performed by [http://en.wikipedia.org/wiki/M%C3%BDa Mýa], and "[http://en.wikipedia.org/wiki/I'm_Still_Here_(Jim's_Theme) I'm Still Here]" written and performed by The [http://en.wikipedia.org/wiki/Goo_Goo_Dolls Goo Goo Dolls] frontman [http://en.wikipedia.org/wiki/John_Rzeznik John Rzeznik].<ref>"Walt Disney Records Releases Atlantis Planet Soundtrack Available May 30, 2005; Features New Original Songs by Martina McBride, Alison Krauss, Anthony Callea & More". Business Wire (Press release). 2005-05-30. Retrieved 2008-09-11.</ref> It was also available in a limited edition of 20,000 numbered copies with a unique [http://en.wikipedia.org/wiki/Lenticular_printing 3D album cover] insert depicting the ''RLS'' Saga from the film. Concerning the promotional edition, Filmtracks said, "Outside of about five minutes of superior additional material (including the massive opening, "Atlantis Destroyed"), the complete presentation is mostly redundant. Still, ''Atlantis'' is an accomplished work for its genre."<ref>{{cite web|url=http://www.filmtracks.com/titles/atlantis.html|title= Filmtracks: ''Atlantis: The Lost Empire''|date=May 21, 2001|publisher=[[Filmtracks.com]]|accessdate=August 8, 2011}}{{Rating|4|5}}</ref>