Jason Schmidt/Netflix
The process was a bonding experience for the crew, he added:"It's a little bit like going through a high school experience or college experience over so many years, when you stick together with a team you feel like you need a yearbook. This was something that came in useful when they began working on the Netflix film. Bulkley said there were"thousands of decisions that [went] into every single frame," adding that the"millions of people hours that [went] into the film is just incredible."saw animators put together 24 frames per second, and at its peak they had 40 animators over 60 units working simultaneously.
Campodonico added:"[In] stop-motion, unlike CG, you shoot it like live-action, you have a set amount of time on a stage to get the performance. So, the animators very much operate like actors, they have to perform for a certain block of time in order to achieve a shot, which is slightly different than CG where there's constant iterations of a scene put together.
Bulkley concurred, adding:"We had 60 units at our peak, so 40 animators [on] 60 units, you ramp up so, for example, with Geppetto you may at one time have 15 different Geppetto scenes all happening, multiple puppets, multiple sets, all concurrent over a span of time. "Both Alex and I can't animate ourselves or build sets, so the respect we have as producers for the people that do the actual detailed artwork is tremendous because you watch the pace, and the amount of love and passion, that goes into these puppets, it's really beyond comparison.
it was creepy. We couldn't get through it.
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