![]() ![]() In the ‘making of’ material that accompanies Sweater and gloves, which were hand-knitted on tiny sewing needles. Many were created using the same 3D printing technology while others were painstakingly crafted by hand, such as Coraline’s Additionally, the film’s miniature costumes, props and sets were constructed with accurate scaled-down detail. This resulted in incredibly smooth facial movement that could at first sight be mistaken for computer-generated (CG)Īnimation. However, by 2009 advances in digital technology allowed animators to design and animate the puppets’ replacementįace pieces digitally and print them using a 3D rapid prototyping Pal and more recently by Henry Selick for facial animation in The Nightmare before Christmas New, having been used decades earlier by animators such as George ![]() To be showcased in the film: Coraline’s use of digital design and printing to produceįacial animation, seen by many for the first time in this film, was arguably of more interest. ![]() ![]() However, this was not the only emerging technology Its stop-motion feature debut in Coraline. Release was due, in part, to the digital renaissance of 3D stereoscopic film that was taking place at the time and which saw Premiered at the Portland International Film Festival. 2009 studio LAIKA’s much anticipated adaptation of Neil Gaiman’s book Coraline ![]()
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