Stop Motion Production

Here is how this works in practice. Stop-motion in Peru is built around a small but capable Lima craft community that has matured through advertising, music-video and short-form work and now ships Andean children's content into the Latin American streaming slate. Pro houses have Aronés Animation, Tunche Films, Maraton Productions and Peruanitas Studio in the capital, with puppet and set-fabrication ateliers feeding commercials for Inca Kola, Nescafé, Tottus and Plaza Vea alongside originals and segments for Movistar Play and Latina kids' programming.

Here is the short of it. Independent feature work has come through Ibermedia, IBERMEDIA TV and DAFO production grants, and the festival circuit running through Festival de Cine de Lima, Festival al Este Lima and the Animation festival circuits in São Paulo, Annecy, Anima Mundi Rio and Quirino Iberoamerican Awards. Puppet builders deliver armature-based characters with metal skeletons, silicone or foam bodies and replacement-face systems for Andean storytelling — apus, condors, vicuñas, chinchillas, viscachas and the cast of Quechua folklore — while set builders construct scale environments to the same standard the capital's commercial sector now expects.

Here is the breakdown. Capture happens on Dragonframe-equipped rigs running Sony A7R V and Canon EOS R5 mirrorless bodies at 4K and above, with steady practical lighting, motorised focus control and motion-control camera moves on Mark Roberts and tabletop rigs ready when sequences call for dollies, pans or crane motion alongside the frame-by-frame animation.

Here is what that looks like on the ground. Production planning recognises the time profile of stop-motion — mostly one to five seconds of finished animation per shooting day, with a thirty-second commercial often spanning several weeks plus pre-production and post — and our team supports each stage: storyboarding, character and set design and tech pre-visualisation through to fabrication, animation direction on stage at Lima soundstages serviced by APU Productions, Chita Films and GoPeruFilms, and the final pass through Peru's VFX houses. Post — rig removal, compositing, miniature integration and DI grading — runs through Makaco VFX, Maneki Studio and Gamma Post House.

Our team handles DAFO and Ministerio de Cultura sign-ups, IGV 18% invoicing, IBERMEDIA forms for co-productions, MINCETUR and PromPerú liaison, ANACTP-aligned crew rates and the competitive non-union 12-to-14-hour day Peruvian animation production depends on.