January 31, 2023

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Guillermo del Toro’s Pinocchio is animated by Shadowmachine

3 min read

For Alex Bulkley And Corey Campodonico, co-founder of ShadowMachine, a boutique animation studio and production house, began work on “Guillermo del Toro’s Pinocchio” a decade ago when some of the first concept art was being created.

“We were first introduced to Guillermo del Toro through Lisa Henson in 2012,” says Balkley. “At that point, obviously, we were years away from actually building it, but it started building a relationship with us [animation house] McKinnon & Saunders in the UK and [co-helmer] Mark Gustafson. When we actually got the greenlight through Netflix, we had a good idea of ​​what Guillermo wanted to do, which was stop motion innovation through a grounded world. What’s amazing about working with Guillermo, as well as Mark, is that they have such a clear vision of storytelling. It allowed the artists that we brought together for this film to really do their best to execute that vision.”

For this film, Bulkley, Campodonico and their team of approximately 375 artists used both mechanical stop motion and replacement techniques. In mechanical stop motion, artists physically move the puppets’ faces and carefully photograph them to show the emotions they want to see. In replacement stop motion, hundreds of masks can be made using a 3D printer and placed on the mannequin to show changes in sensation. In “Pinocchio,” Geppetto’s performance was made with mechanical stop motion but Pinocchio is made of wood, so the substitute stop-motion techniques were perfect for creating his performance.

Some characters can use both types of stop motion. Spazzatura, the monkey who assists the villainous Count Volpe, had eyebrows and eyes that were mechanical so the artists moved them by hand but the face and mouthpiece replacements were stop motion. The facial area created a kind of natural border where they could separate different areas of the face without disturbing the functionality. The two techniques were used together to create exaggerated and wildly emotional expressions of the character.

The Shadowmachine team used pizza boxes with partitions to hold replacement faces and faces to deliver to the various crews working on the film. At the height of production, they had about 60 units shooting at once, each requiring its own replacement kit.

“You have to shoot on multiple stages at the same time with the same characters,” says Campodonico. “So, the workload of the puppet department and the set department and the lighting department and the camera department is so demanding because you’re constantly doing it.”

Although this is del Toro’s first theatrically released stop-motion film, the filmmaker had worked on a previous stop-motion project in Guadalajara but abandoned it after a tragedy. He and his team had completed about 100 dolls for the story when someone broke into his studio and destroyed their work and ransacked the studio. Shaken by what happened, Del Toro took it as a sign to work on live action.

“Given the time it took to complete this project, and the collective blood, sweat and tears of the community that built around it, the movie is truly the result of an amazing collaboration,” said Bulkley. “It was actually almost 1,000 days in the making, bringing this vision to life. We’re very proud to be a part of it.”

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