For those of you who simply can’t get enough of Tim Burton’s Alice in Wonderland, we have another treat for you. Yesterday was part two of Wonderland Wednesday which gave us lots of new concept images, descriptions and a new clip. Today, we’ve been given some new images which show, process by process how a piece of imagery goes from being filmed to being put onto a finished piece of film.

To help demonstrate this, we’ve got progression art for The Knave of Hearts, The White Rabbit and the Red Queen. I’ve put the images below in order with captions explaining exactly what’s happening so you can see the changes as they’re created an you can click each image to enlarge. Tell us what you think in the comments section below.

Alice in Wonderland is to be released by Disney 5th March.

The Knave of Hearts

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Imagery of Stayne, the Knave to the Red Queen, is placed into a preliminary CG environment of the throne room. In the background are basic computer-generated models representing set pieces that have not yet been given final texture or color.

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A number of techniques were created to allow the animators at Imageworks to place the photography of Crispin Glover’s (Stayne) head onto a fully computer-generated body.

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In the final composite of the scene, the green-screen footage of Stayne’s head is incorporated into the fully computer-generated body and environment, lighting is color corrected and finalized, and the surfaces spring to life when given texture, shadows and reflections.

The White Rabbit

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The first animated character Alice encounters is the White Rabbit.  Here, a storyboard sketch is done as the first step in creating the scene in the film.

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The artists at Imageworks create a low-resolution version of the CG character and place it in the CG environmentÑlow-res allows the animators speed and flexibility while working on the scene.

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Once the character animation is completed, a high-res version of White RabbitÕs performance is checked on a more detailed model called a pit render.

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The performance approved, the Rabbit gets his fur and clothing.  There are complex programs designed to make hair, fur and fabric move and behave as realistically as possible.

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The final scene, which has all of the high-resolution elements including a furry and clothed Rabbit, his computer-generated surroundings, the matte painting background, the effects of moving leavesÑall lit and textured.  Elements are combined by a compositor.

The Red Queen Part 1

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The Red Queen is filmed against a green-screen background thatÕs been dressed with green set piecesÑthe columns will cast accurate shadows, and the wooden Òstand-insÓ for the frogs give the actress scene partners and help her establish an eye-line.

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Using multiple techniques especially developed over the course of production, the Red Queen’s head is enlarged to twice its normal size, her waist is cinched (creating a more caricatured look) and her neck and chin are blended seamlessly into the collar and shoulders of her body.

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Animators at Imageworks add in CG frogs and red knights, along with the birds holding the chandelier and the monkeys holding the candelabras.  Human courtiers (filmed in a separate green-screen shoot) are placed to the right of the Queen-a great challenge for the visual effects department.

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The frogs are given accurate skin and properly moving costumes, and the birds receive their realistic plumage.

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In the final composite, all surfaces are lit and textured and the green-screen photography is color corrected to fit the scene.

The Red Queen 2

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The Red Queen is filmed against a green-screen background using a high-resolution 4K digital camera so her head can be enlarged without compromising image quality. The chair she sits in is green so that it can later be replaced with its digital counterpart.

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Using proprietary tools especially built for these tasks over the course of the production, the QueenÕs head is enlarged, and her neck and chin are seamlessly blended into the collar of her costume.

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The Red Queen is dropped into a preliminary CG environment, with preliminary models of set pieces in the backgroundÑearly versions of the monkeys holding the candelabras are also added.

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Imageworks artists added fur and clothing to the monkeys.

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Artists at Imageworks create fire and smoke for the candles.

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The final composited scene includes lighting, texturing and final color corrections.