: The new puppets feature improved armatures and facial systems—including separately painted mouth bags—to allow for the fluid and nuanced movement expected in modern stop-motion.
If we lose the puppet, we lose the ghost in the machine. Rebuilding Coraline
Converting a stop-motion film to 3D is vastly different from converting a live-action film or a CGI cartoon. In CGI, the computer "knows" where the objects are in 3D space. In live-action, depth must be inferred. In stop-motion, every frame is a photograph of a real 3D object. To rebuild Coraline in 3D, technicians had to analyze every shot, creating a depth map that separated Coraline from her background, the Other Mother from her web, and the mist from the garden. : The new puppets feature improved armatures and
As of this month, is 74% complete. The original puppet is stable. The new "hero" backup puppet is ready for future exhibitions. The team has written a 900-page conservation bible so that in 2075, the next generation of curators can rebuild her again. In CGI, the computer "knows" where the objects
: The team utilized 3D technology to create digital models and molds, a significant shift from the 2008 process that relied on a single delicate clay sculpt.
: The new puppets feature improved armatures and facial systems—including separately painted mouth bags—to allow for the fluid and nuanced movement expected in modern stop-motion.
If we lose the puppet, we lose the ghost in the machine.
Converting a stop-motion film to 3D is vastly different from converting a live-action film or a CGI cartoon. In CGI, the computer "knows" where the objects are in 3D space. In live-action, depth must be inferred. In stop-motion, every frame is a photograph of a real 3D object. To rebuild Coraline in 3D, technicians had to analyze every shot, creating a depth map that separated Coraline from her background, the Other Mother from her web, and the mist from the garden.
As of this month, is 74% complete. The original puppet is stable. The new "hero" backup puppet is ready for future exhibitions. The team has written a 900-page conservation bible so that in 2075, the next generation of curators can rebuild her again.
: The team utilized 3D technology to create digital models and molds, a significant shift from the 2008 process that relied on a single delicate clay sculpt.
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