These shots were fun to animated because I never really had a chance to animate a car before. So it took a while to wrap my mind around the rig, which was pretty awesome. The rig had all sorts of controls to make the car squash/stretch for all of the cartoony purposes we needed it for. There's some really fun stuff that some of the animators did with the car.
What you do is set the car on a path and just add layers of other animation cycles on top of it. Like the wheels turning, car frame shaking, etc. In the end it travels down the path with the character constrained to it and you're pretty much done with the shot unless something specific is needed that might require certain cheats. So on a couple of these shots, I needed a very specific timing of the car approaching the camera and flying past it. So I had to put a couple of cheats in there to achieve this because otherwise, the car would not give the impression of zooming past camera the way that it needed to. If you looked at some of the shots of the car driving on the racetrack from another camera view, it would look like it's slowing down in certain sections and then suddenly speeding way up in other parts. That's the cheat. I even had to experiment with stretching the car while it zoomed past the camera to give it that speeding bullet illusion.
The shot where Venlope drives off the track and right towards camera was also a cheat. There was a specific composition that the director wanted so I had to frame by frame the animation towards the end of the shot to keep it within frame. If I didn't do this it would have flown past the camera within a frame. There are so many cheats that we do in animation but it looks totally natural and believable from the camera view.
I enjoyed animating the car landing back down on the racetrack with mentos flying all over because of the physics involved in making that crash landing work. It was fun digging in there and figuring out which part of the car should land first and how the car pops back up in the air while also considering what Venelope would be doing in the midst of that landing. I had to depend on some frame by frame hand drawn animating over the playblast to make sure the main shapes that you had to see tracked well. These shorter shots can be tricky because you need to make things read super clear in an instant.
The last shot with Ralph was pretty goofy. I experimented with a bunch of different ideas for this and they ultimately settled with him beating on his chest, which was fun. Sometimes you just have to give yourself a chance to experiment with other options. Often times a first impression idea works, but it's amazing how many times I've stumbled on better and more entertaining ideas just by reblocking something just out of curiousity. At the very least, it could be verification to just go with your first idea.