Using Inventor, they look at modular components from our library to see what they’re going to need in terms of things like balls and sockets and joints to create a given armature or if they need to fabricate something customised or bespoke. “Once it’s approved by the director, it gets handed off to the armature team to create the skeleton in the body of the puppet, which is what lets the animators control and pose it frame by frame. Of course, a production begins with the puppets: “It starts on paper, 2D art,” Emerson says, then the character is translated into a digital sculpt using Maya. So we blend CGI into our productions-because at the end of the day, we want to harness the best of both worlds.” “Every frame involves a lot of thought and a lot of effort. “It’s a magical art form, but it’s also very technical and incredibly time-consuming,” Emerson says.
And everything is shot in-camera.” When played sequentially, stop-motion shots form animated stories with a uniquely warm quality that’s hard to achieve digitally. “It uses real physical sets and real puppets that are manipulated in very subtle ways across individual frames. “Stop-motion is one of the earliest filmmaking techniques,” says Steve Emerson, VFX supervisor at LAIKA. The company is known for its Academy Award-nominated films Missing Link, Kubo and the Two Strings, The Boxtrolls, ParaNorman and Coraline. But far from Hollywood, the Portland, Oregon-based studio LAIKA is synonymous with the handmade, artisanal charm of stop-motion animation.
Laika stop motion software#
Most animation studios today rely completely on digital visual effects, using software all the way from preproduction through designing, rigging and animating characters.
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