Visual development, e.g. narrative development, story boarding, treatments and pitches.

Visual development, e.g. narrative development, story boarding, treatments and pitches.

Tim Burton liked the Grinch and decided he wanted to do the complete opposite of a monster who finds Christmas and loves it, and wants to make his own one.

Story boarding was done by Joseph Ranft who made the first visual 'attack' on the film. The camera crews had a lot of swinging and moving shots. 

Frame rates required to create a smooth illusion of motion: 12 fps animation, 24 fps film, 25 fps television.

 

Technological developments, e.g. use of 3D printing

Cameras that automatically, pan, tilt, swing and focus to the shot they need, this is done through a remote

Model making techniques, e.g. armature, sculpting, 3D printing

Drawings were made and were sent to Greg olsen, to make them to scale to figure out camera angles. There are a team of 4 sculptors who make everything. Greg Dykstra sculpt them out of clay from pictures put together by the art department, they make 200 'puppets'. Jack has a different face for every sound and expression.

Set building and lighting

Deane Taylor the art director, designs the sets based on the story boards, they need to ensure when they have the quarter scale to see where they want the full scale to break up because all of it wont be able to fit on one stage as it wouldn't fit on one stage. They are lit like a normal movie, however with small lights, many of the scene needed 20 - 30 lights.

Audio production for animation, e.g. musical score, sound effects, voice over.

Music was composed by Danny Elfman

Editing of footage, titles and credits to a soundtrack, using video and sound editing software.