animators portions to animate entirely, rather than the standard process of animating one character, in a throwback to the way Disney's first features were created. The exception were those responsible for creating the Giant himself, who was created using computer-generated imagery due to the difficulty of creating a metal object "in a fluid-like manner." They had additional trouble with using the computer model to express emotion. The Giant was designed by filmmaker Joe Johnston, which was refined by production designer Mark Whiting and Steve Markowski, head animator for the Giant. Using software, the team would animate the Giant "on twos" (every other frame, or twelve frames per second) when interacting with other characters, to make it less obvious it was a computer model. Bird brought in students from CalArts to assist in minor animation work due to the film's busy schedule. He made sure to spread out the work on scenes between experienced and younger animators, noting, "You overburden your strongest people and underburden the others [if you let your top talent monopolize the best assignments]." Hiroki Itokazu designed all of the film's CGI props and vehicles, which were created in a variety of software, including Alias Systems Corporation's Maya, Alias' PowerAnimator, a modified version of Pixar's RenderMan, Softimage 3D, Cambridge Animation's Animo (now part of Toon Boom Technologies), Avid Elastic Reality, and Adobe Photoshop. The art of Norman Rockwell, Edward Hopper and N.C. Wyeth inspired the design. Whiting strove for colors both evocative of the time period in which the film is set and also representative of its emotional tone; for example, Hogarth's room is designed to reflect his "youth and sense of wonder." That was blended with a style reminiscent of 1950s illustration. Animators studied Chuck Jones, Hank Ketcham, Al Hirschfeld and Disney films from that era, such as 101 Dalmatians, for inspiration in the film's animation. Music The score for the film was composed and conducted by Michael Kamen, making it the only film directed by Bird not to be scored by his future collaborator, Michael Giacchino. Bird's original temp score, "a collection of Bernard Herrmann cues from '50s and '60s sci-fi films," initially scared Kamen. Believing the sound of the orchestra is important to the feeling of the film, Kamen "decided to comb eastern Europe for an "old-fashioned" sounding orchestra and went to Prague to hear Vladimir Ashkenazy conduct the Czech Philharmonic in Strauss's An Alpine