Back in 2003 when Madame Tutli-Putli was first being discussed as a concept for an animated short film, one of the most important creative issues was how to bring human emotion and expressiveness to stop-motion puppets. Jason and the Clyde Henry's (Chris and Maciek) discussed many different approaches. In the end, the solution arose when Jason tested the tracking and re-timing of live action human eyes onto a stop-motion scene. This test led to the creation of a remarkable production process whereby live action human eyes were added to almost 20 minutes of stop-motion animation in a manner that was perfectly seamless and completely unobtrusive.

Jason developed a system of separating and analyzing the previously shot stop-motion puppet moves, choreographing, rehearsing and shooting a human actor's corresponding "eye performance" to match each puppet move, at the same time recreating as closely as possible all light and shadow passes original to the stop-motion. Once the human eyes were shot, each eye was individually positioned, scaled, re-timed and digitally composited onto the puppet scenes. As different actors were cast for almost all the characters, the requirement was not only to integrate the human eyes onto each puppet, but on a frame by frame basis, match the subtle movement of the puppets, the camera, and the train – all the while retaining the flow of the acting. "This required every trick in the book and more!" exclaims Mr. Walker. The creation of the film and this extraordinarily painstaking process took 4 years from concept to completion.