One of the lead fabricators behind the new stop motion Pinocchio film on Netflix has revealed how 3D printing helped make the movie possible.
导演Guillermo del Toro并没有使他们的情绪从粘土中塑造电影角色的头部，以使他们的情绪改变框架，要求他们机械地制成并配有硅皮肤。据说这样做为动画师提供了对木偶表现的更大控制权，使他们能够比传统制作更自然地“行动”。
“这很有趣，因为Guillermo希望它成为机械头动画，因为他以完全不同的方式将这部电影与所有定格动作有关，直到到此为止，”电影的角色制作导演乔治娜·海恩斯（Georgina Hayns）told B4s & Afters在查看会议在都灵。“他指导动画师，好像他们是现场演员，而不是像动画师一样。”
“他希望表演作为演员而不是木偶在木偶中通过。他认为，机械头为动画师提供了更大的能力。”
克服木偶挑战
一旦由电影的导演继续前进，Puppets倾向于以模制的粘土Maquette的身份开始生活，这是整个电影制作中角色相似的基础。尽管经常从无色树脂中铸造，但它们可能是高度复杂的，具有密切模仿有机人或动物的复杂特征。
In a recent interview on the subject, Hayns explained how “It can be really hard to perceive the level of detail that goes into this step, especially head mechanics on puppets.” With the head of such characters often being no larger than three inches in diameter, the Pinocchio fabricator added that it’s an “intricate” process, involving the cramming in of mechanisms that allow for the operation of jaws and lips.
这些问题将Pinocchio Puppet Hayns及其团队试图做出的规模结合在一起，这意味着他们通常使用的树脂模型和金属铸造零件的混合物这段时间是不够强的。
Luckily, however, Hayns had Richard Pickersgill, a lead puppet maker atMackinnon & Saunders, on hand to help overcome the difficulties behind creating and animating the puppets for Pinocchio. According to Hayns, Pickersgill, who had worked with her on the animated movie Coraline, introduced his firm to 3D printing as an animation tool some time ago. But he had now come across a new system “he was blown away with, in terms of the quality level” that it could achieve.
使皮诺奇奥栩栩如生
在海恩斯（Hayns）的工作人员开始玩3D打印之前，他们首先需要确保他们对每个电影的角色选择的嘴巴形状感到满意。这使团队进行了绘制动画测试，其中将绘制的细胞放在木偶马奎特头雕刻上，使他们可以在3D中看到他们的初始设计。
一旦最终的Maquette设计被签署，它们就会进行3D扫描并变成数字模型。最终，在用于制作薄膜pinocchio模型的总零件中，它的整个躯干中部和金属接头都打印了3D。就像木偶的树脂和硅胶部分一样，它们可以绘制，以便它们具有类似玩具的外观，否则很难实现。
“A little wooden boy has got more challenges [as his face] isn’t really like a human face,” explained Hayns. “So his eyes were holes, rather than any kind of ball or anything sticking out. And then we had to deal with the wood grain, and the wood grain on him is all vertical. So it would’ve been a nightmare to get rid of that line.”
This, in tandem with del Toro’s desire to have the puppets truly ‘act,’ led Hayns and her team to mostly give them mechanical heads, with Pinocchio himself being animated with full ‘replacement heads.’ Rather than manually modelling the different heads for the puppet as his surroundings changed in the movie, the crew opted to 3D print them in a way that made the whole process significantly faster.
尽管据说订购过程涉及很多来回的，这些过程中有海恩斯和公司。担心该项目是否可以按时完成，她承认，当橙棕色的最终设计回到工作室时，她认为“哦，这是我们的家伙”，这使三个月的等待值得。
Believe it or not, 3D printing has actually been deployed multiple times already in the rapid production of character models for moviemakers. In 2019, LAIKA 3D printed models for the film Missing Link using Cuttlefish software and a 3D printer driver from the Germany-based Fraunhofer Institute for Computer Graphics Research (Fraunhofer IGD). The initiative saw the firm create over 100,000 detailed color 3D faces for its stop motion feature with the help of aStratasys J750系统。
A year earlier, it was also revealed howETEC3D printing can enable stop motion animation。在宣传视频中，该公司的客户之一笨拙的好友站立解释了其完美的4 DSP XL 3D打印机如何在较少的时间内对角色模型进行审美更改，而该模型将花费的时间造成手工雕刻的时间。
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Featured image shows a Pinocchio puppet used in the making of the new Guillermo del Toro movie. Photo via Jason Schmidt, Netflix.
