The incredible light and motion bringing PinocchioMovie to life owes much of its vigor to stop-motion legend Frank Passingham. kathymchacon spoke to the cinematographer about the new techniques he developed for the film:
and then the subsequent films, we were working in 35mm. We realized halfway through shootingthat, because of all the cutbacks that the animators do, there was going to be so many edits in the film. So, what we ended up doing was taking all the 35mm and scanning it. Then you had the DI, the digital intermediate. It was made digitally, because that was the only way to make it safely and make it happen.
So, a few things have happened: One is the advent of digital cameras. I always wanted to go into digital. Aardman and their camera department were always resistant to that. They wanted to stick with film. And, really, the first digital cameras weren’t that good—so I kind of understand that. But once you had Nikon and Canon, you had really good cameras. Canon made a camera that could be used for stop-motion animation because you could keep the live view on and the sensor would not overheat.
For this film, you created new lighting techniques in stop-motion, something you call “layered lighting.” Is this what you’re referring to?, I want—right from that very first shot where you see the pinecone and go into that snowy landscape—a naturalistic light. I want people to believe this is a very natural world with very natural light hitting these characters, but I know that due to the fairytale story, I can enhance that a bit. One of the things I like to do is to use gobos.
Kathy Michelle Chacón is a Gen-Z writer, academic and filmmaker based in sunny California. When she’s not writing for Paste, Film Cred or Kathychacon.com, you can find her eating pupusas, cuddling with her dog Strawberry or sweating her face off somewhere in the Inland Empire.
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