Once the puppets were built, we were able to start modelling and rigging them, and the shoots began in September, lasting four to five weeks. We first used choreographers and two dancers for movement reference, for the animators to make the dance work.
For the shoot, we hired the full space at Clapham Road Studios. Elizabeth and Matt – who we have a great relationship with – helped us with so many of our projects, and I really couldn’t have done what I have over the years without their help. Since stop-motion animation is so time consuming, we ended up over-running by a week and used a small set in a basement for filming the dancing scene in the kitchen.
While we were shooting, we started the CG work using a tracking process. Rune Spaans wasn’t able to do it all on his own in his house, so he worked from a post-production house called Storyline in Norway. When a shot was finished, we would send it them, and they would work on it as we shot the rest of the animation. They tracked the faces, helped with the animation, lighting and rendering, which all took around twelve weeks.