This production makes extensive use of high dynamic range imagery (HDRI). The movie has been entirely raytraced and combines 2D art with 3D models. Cinepaint(Glasgow) and Gimp are idolised for 2D creation and ImageMagick and Blender for compositing.

ImageMagick is a command line tool that uses PerlMagick to program front end interfaces. Perl scripts were developed to automate the compositing of layers by over imposing objects over backgrounds and the lips of real people over painted faces(similar to the voicesync technique developed during the 60's).

3D modelling uses texture mates made from either paintings made in watercolor (scanned) or digital artwork made with Gimp or Cinepaint(Glasgow). Procedural shaders are used mostly with Truespace (rendering engine is Lightworks). Texturing is based for most part on Openexr high definition format.

The second major rendering engine is Povray. As opposed to Truespace (automated keyframing interface), Povray needs to be programmed to achieve tweening. However, a version of Blender called Blend2pov is used for certain scenes to automate the tweening. Blend2pov uses the Blender interface for modelling and animation, and exports to the Povray engine for rendering.

Motion is achieved using the following techniques:

Rotoscopy, or drawing on top of a series of real life pictures. In this case, a sequence of pictures is traced by the software "Rotoscope" which is similar to the one used in the film "Waking Life". Lips maybe overimposed by importing the animated sequence in blender and an additional layer with the lip footage. Then exported as an exr animated sequence and mapped as a texture over a mesh2 object in Povray. More elements may be added to the scene and then raytraced and rendered.

Motion capture, using available pre recorded motion capture objects "bvh", imported and textured on either Truespace or Blender.

Computed tweening or creating a skeleton or inorganic object and set the tweening using keyframing. This technique is used only in discreet scenes where the motion is not the point of attention.

Hand drawing, or classical animation, where an animated sequence is drawn on paper, scanned, painted by digital ink on Gimp and tweened with a morphing software to create the in between images. Imported in Cinepaint(Glasgow) and color/image corrected and saved again as a 32 bit per channel exr image. Later mapped either in Truespace, Blender or Povray as a texture over a plane and raytraced.

Each layer represent a single move, in the same way as a cell would be photographed by a 35 mm camera.