Stop-Motion Puppet Fabricator
MIME HEAD BUILD: Le Charade
Responsible for all 3D modeling & fabrication. Directed by Erika Totoro
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Final Mime head with replacement faces, lids and brows with movable ears and nose.
Motion-test demonstrating all moving parts and face replacements. Responsible for animation and all head fabrication. Lighting by Will Macuch.
Head being fully assembled with replacement face, eyes, lids, ears, nose and brows.
3D Model:
The Mime head went through several modeling phases and test prints to check sizing and mechanic functionality. I constantly communicated with our Lead Animator to check what was working and what could be improved. The head was fully modeled in Autodesk Maya 2022.
Final 3D Models (Left: core, Middle: full model with all assets, Right: front replacement face)
Modeling Sockets for Hardware: A variety of magnets, screws, coupling nuts, and brass tubes were used for the Mimes head mechanics. Each piece of hardware was initially modeled to scale and then scaled up to allow a 0.01" clearance that allowed for an easier installation while still keeping a snug fit.
3D Printing:
FDM Printing: The initial head was printed with white Acrylonitrile Butadiene Styrene (ABS) using a Fused Deposition Modeling (FDM) 3D printer. Two test prints were done using this printer. The first was printed as a solid head with the ears, nose, brows and eyes printed separate. This was done so we could determine if we liked the overall look of the head before splitting it and adding mechanics. Lighting tests were done on this print to see how anatomy was working in basic lighting. The second test print included the replacement face, core with mechanics, and all separate facial features. I worked with and studied this print for a while before moving on to the next one. I took extensive notes on what was working and what wasn't, and what I thought the solution for fixing it was. The first motion-test with the head was with this print as well. For it being the first print with mechanics, it was functioning close to how I wanted it but I knew it could be better.
First motion-test animated by Thaddeus Varness.
SLA Printing: After the second test print with the FDM printer, I switched over to a Stereolithography (SLA) printer. I was always going to print the final head on this printer, and the rigid texture that the FDM (initially used for reducing cost for testing) printer leaves was not going to accurately print the mechanics and hardware sockets like I needed it to for checking clearances and making adjustments for future prints. A clear resin was used for printing, which resulted in a much smoother surface. Three test prints were done with this printer before reaching the file model that I was satisfied with. With each print, the main adjustments were tweaking the hardware clearances, ear sockets, eyelid keys, and the eye area on the back of the replacement face.
Core and Face Replacement Assembly:
After printing, the head core and face replacements go through an extensive process before they are animation and camera ready. This process consist of hardware installation, connection fitting, sanding, priming, filling, painting, and sealing.
Sand: After printing, resin supports are removed from the prints and every print goes through a series of sanding. I start with a lower 220 grit and work my way up to a higher 800 grit sand paper. I am cautious of how much I am sanding in certain areas to make sure that connection between both parts is not affected.
Hardware: Five magnets, a coupling nut, and a brass tube are installed in the core and secured with a small about of 5-Minute Epoxy. For the replacement faces, two screws are installed with the same epoxy. A screwdriver is used to self-tap and tightly secure the screws in place.
Prime: Before priming, all hardware, keys, nose and ear sockets are taped off to prevent product build-up that could affect how the parts fit together. Replacement faces are secured to a 1/8" wire that is bent and wrapped with painters tape. A small dot of slightly warm hot glue is used to help hold the pieces together and easily peels off without effecting the resin. Dupli-Color Sandable Primer in gray is used for priming. Thin coats are applied with every application. A minimum of 3 layers of primer are applied after every application of filler.
Fill: After each coat of primer, a wet sanding technique using 800-1000 grit sand paper is used for lightly sanding. Next, Bondo Glazing and Spot Putty is used to fill any pores or scratches. Areas filled are then wet sanded until smooth. The process of priming and filling is repeated until the entire surface is smooth and any imperfections are removed.
Spray Gun: A detail spray gun is used for the final coat of primer. This ensures a more even and smoth application. The spray gun is also used for all coats of spray paint and matte sealant. MTN 94 spray paint was used for the Mime's base face makeup.
Makeup Details: The makeup details were hand painted using acrylic paint. Three different colors were mixed and used for the eye makeup, mouth makeup and goatee. In the beginning of production, stencils made of painters tape were used for the eye makeup to keep the placement among the expressions consistent. However, when shots with more subtle acting started, it was important that the makeup was identical with no noticeable shifting. To achieve this, I made three small marks on the 3D expressions that aligned with an existing face. Those points were taped off to create the triangles and were filled in with paint
Seal: Lastly, the core and face replacements were sprayed with the Tamiya TS-80 Flat Clear Lacquer Spray Paint to give a matte finish.
Ears and Nose:
3D Model: Voids were modeled in the ears and nose to reduce the amount of resin used in printing. Within that void is a centered, vertical tunnel that would receive a 2-56 threaded bolt for the magnet registration.
Mold: The ears and nose prints were sanded until smooth. For molding, each piece was held up with a 2-56 threaded bolt and nut. This would create a void that would be used for registering the magnet for casting. Each mold was poured with GI 1000 silicone. The walls and stands for the mold were made of 1/8" foam core and secured with hot glue.
Cast: For casting, a magnet is adhered to a 2-56 bolt and then carefully registered so that there is an equal amount of plastic surrounding the magnet, which would result in a more balanced magnetic pull for animating. Each piece is casted with Smooth-Cast 300 plastic. Before priming and painting, each piece is tested on the model to ensure the magnet was registered properly. Each piece then goes through a similar process as the replacement faces, with a series of sanding, priming, filling, painting and sealing.
Eyes and Eyelids:
Eyeballs are placed in a round, fitted socket that allows a smooth rotation. Lids are placed on top and bottom keys that work with all replacement faces.
Eyes: The Mimes eyes are made from 9/16" Delrin Balls that were molded using GI 1000 Silicone. The eyes were cast in Smooth-Cast 300 plastic that resulted in a matte, white finish. A small drill bit was used to drill a whole in the eyes that allow them to be manipulated with a small pin. The pupils were painted using a glossy, black paint.
Eyelid Jig: A eyelid jig was made by transferring the eyeball and lid system to a flat plate that was then 3D printed using a SLA printer. After printing, the eyelid jig was molded using GI 1000 Silicone and cast in Smooth-Cast 300 plastic. Eyelids were made by vacuforming 0.04" PETG on top of the jigs. Small holes were drilled on the base of the jigs to allow for a stronger and tighter pull.
Vacuform: Eyelids were made by vacuforming 0.04" PETG on top of the jigs. Small holes were drilled on the base of the jigs to allow for a stronger and tighter pull.
Shape: After vacuforming, the eyelids were carefully removed from the jig. They were placed onto the head and lid shapes were drawn on. Cuticle scissors were used to cut the shapes out. Each lid was sanded to smooth any sharp edges and allow primer to adhere better.
Prime & Paint: For priming and painting, the lids were placed on jigs and taped off to limit the amount of unnecessary product build-up that could potentially affect the fit of the replacement face. Lids were first primed using Dupli-Color Sandable Primer and finished with a coating MTN 94 spray paint.
Several sets of lids were made to create a number of different emotions and actions for the different expressions that were made. In total, sixteen different set of lids were made. Among these were a blink sequence and squints.
Eyebrows:
The Mime's eyebrows are originally 3D modeled and printed, and then molded with GI 1000 Silicone and cast with Smooth-On 300 plastic. This allowed me to make brows more quickly so that we could have multiple sets ready for animation.
Just like the ears and nose, the eyebrows go through series of sanding, priming, filling, painting, and sealing. For a smooth finish, each eyebrow is secured to a 24 gauge wire that allows me to apply an even coat of primer and paint to the entire eyebrow. The Mime's eyebrow are backed with a small amount of museum wax that sticks them the surface of the face and can be manipulated. We wanted different brow shapes for different expressions and emotions. The Mime has three different brow shapes: flat, curved and dramatic.
Storage & Organization:
During production, there are new faces being modeled and printed nearly every week. There are 55 replacement faces, 3 functioning cores, and 3 full sets of eyebrows and lids. I wanted to organize and store all of the assets in a way that kept them from getting damaged and could easily be identified. For the face replacements, they are kept in an organizing box with dividers. Foam was cut to fit in each compartment so that the faces had a soft surface to rest on. Each face asset (brows, lids, nose, etc.) is put in its own capsule that is labeled. For brows and lids, a small drawing is made to show what each asset looks like since there are so many different variations. The capsules are then placed in an organizer box with dividers. Each box has a full set of assets that the animator can keep in their stage so that they have everything they will need when animating.
