Two-part silicon molds were made of real avocados. Feather Lite plastic was used to cast multiple copies. The paint job: spray paint base coat, Acryla Gouache and a clear matte medium finish. Feet and hand poses were made with Sculpey. Arms and legs were made of tubing and floral wire. Mouth and eye shapes were cut from black and white tape.

The graphics on the laboratory screens where animated with paper shapes on a grid.

The boiling effect was created with clear acrylic balls of various sizes and glycerine.

Branches were glued and screwed together to make the trees. Artificial garland was used for the leaves and bushes. The forest floor was a mix of model train dirt and aquarium pebbles that was covered with scenery glue. Everything in the forest was painted black with acrylic or airbrushed.

The salsa/blood was a mix of latex, red paint and balsa wood bits.

Only one side of a real tortilla chip was molded in silicon. The gang of chips were made out of Smooth-Cast resin.

Different body shapes were made for squash and stretch poses.

Everything was shot using Dragonframe, a Sony a6000 with a Nikkor 35mm lens and a Blackmagic Intensity Shuttle. Compositing and rig removal was done in After Effects.

I composed the score and Supreme Tracks performed and recorded it. The Miraculous Mandarin Suite by Béla Bartók inspired the music.

The title was “drawn” with clay, but eventually animated in Toon Boom Harmony. The poster was drawn in Clip Studio.

Click here to WATCH THE FILM.