During preproduction on the film, the film's production, art, lighting, and design leads teams went to Wyoming, Quebec, Canada, and Norway in order to study and gain an appreciation for the environment for the film, such as walking through snow (Wyoming), make observations of how light reflects and refracts on snow and ice (Quebec, Canada), and to gain an inspirational natural look on ice, mountains, water, and other elements needed for the story (Norway). "We had a very short time schedule for this film, so our main focus was really to get the story right but we knew that John Lasseter is keen on truth in the material and creating a believable world, and again that doesn't mean it's a realistic world - but a believable one. It was important to see the scope and scale of Norway, and important for our animators to know what it's like," Peter Del Vecho, the film's producer, said. "There is a real feeling of Lawrence de Arabia (1962) scope and scale to this," he finished.