Studio & Process

Every TinFilm US project follows the same four broad stages. The details change with each film, but the rhythm stays steady, which helps clients know what to expect and when their input matters most.

1. Storyboards and color scripts

We start by finding the story. A short treatment sets the tone, character designs give the world its cast, and storyboards map every shot. A color script shows how the film should feel from moment to moment. We cut the boards into an animatic with temporary sound, so everyone can watch the film in rough form before anything is built.

2. Character and set fabrication

With the animatic approved, our puppet shop and art department start building. Armatures are made and tested, puppets are sculpted, cast and dressed, and miniature sets are constructed in sections so animators can reach inside. For stylized 3D work, this is the look-development stage, where digital materials are matched to physical samples.

3. Frame-by-frame cinematography

Then the stage goes quiet and the animators begin. We capture each shot one frame at a time, at 24 frames per second of finished film, sometimes using motion control for repeatable camera moves. Practical lights inside the set create mood. A good day produces a few seconds of footage, so the shot list is planned carefully.

4. Sound, color and master delivery

Finally our finishing team removes rigs, composites any digital elements and grades the film. The sound room records Foley and finishes the score and mix. We deliver masters and cutdowns in the agreed formats, with an archive plan for raw frames, puppets and sets.

Check-ins and remote review

We agree check-in points at the start: usually the treatment, the animatic, first puppet and set photos, first animated shot, and the final picture and mix. Each one comes with stills or short clips you can review on any device, plus a clear list of decisions we need from you.

Clients are welcome on set by appointment. For remote teams we share daily stills and short clips, and we can arrange live review sessions during key shooting days.

A typical 30 to 60 second stop-motion film takes about four to eight weeks from approved script to delivery. Your actual schedule is set in writing after an intro call.