MODI and the Magic Stones: A Sarawak Story in 2D and 3D
Modi's journey begins with something deeply familiar: the fear of being unable to help someone you love.
When his parents fall ill, the young Punan carver sets out to find two stones that he believes may bring them healing. His search takes him through the forest, but the harder journey is through his own uncertainty.
For Motion Foundry, bringing MODI and the Magic Stones to the screen meant giving both journeys room: a detailed world to travel through, and a character whose hope, fatigue and doubt remain easy to recognise.
Watch the official trailer
Official trailer from Motion Foundry. The full animation on TVS Entertainment is also available at the end of this article.
A story with a particular cultural setting
The film introduces Modi as a klirieng carver living in a Punan longhouse community. Naming that setting matters. The Punan and Penan are distinct communities; their similar names should not make their histories or traditions interchangeable. Local reporting with Punan community voices explains this often-confused distinction.
Modi's craft also gives the story a specific cultural reference. Malaysia's National Museum documents kelirieng burial poles associated with Punan Bah and Sekapan communities around Belaga in the upper Rajang region. A carved pillar carries more than an interesting shape or surface pattern.
The animation remains an interpretation of a story. Its dream imagery and magical stones belong to the film's narrative, rather than providing a complete account of contemporary Punan life. For us, that distinction leaves room for imagination while keeping the cultural references specific.
Looking closely before building
Part of the environment work began away from the screen. Our director and scriptwriter, Siew Chung Lee, known to our team as CL, and 3D environment artist Samuel Liau visited the Borneo Cultures Museum to study architectural references in person.
The aim was to bring the digital environments closer to those references, rather than rely on a general impression of what a longhouse should look like. Observation gave the everyday world a foundation; the dream sequences gave the story space to move beyond it.
Why pair 2D characters with a 3D world?
We wanted the rainforest to offer depth, texture and atmosphere while leaving the characters easy to read. Detailed 3D environments gave us layered foliage, light filtering through the canopy and space for the camera to move.
The expressive 2D character designs brought a different quality. A close view of Modi gives the audience a face to follow within that busy world. The two approaches contribute different things: the setting establishes a place, while the performance helps us understand the person moving through it.
Giving the characters a handcrafted rhythm
The character animation uses a deliberate 12-updates-per-second rhythm. This creates a handcrafted texture in the movement alongside the smoother motion of the 3D camera. It describes the character animation's cadence, rather than the finished video's output frame rate.
Holding a drawing for two frames is called animating "on twos"; on a 24 fps timeline, that produces 12 drawing updates per second. The useful creative question is how the rhythm supports a performance. Fewer updates still demand clear poses, thoughtful spacing and timing that makes the action understandable.
Making the characters belong in the scene
Combining these elements involved more than placing a character over a finished background. Perspective was one of the main challenges. Camera angles and layouts needed careful planning so the 2D poses matched the viewpoint of the 3D environment.
Lighting provided another connection. Rim lighting, interactive shadows and colour grading helped the characters respond to the rainforest light. If a character and the surrounding trees appear to receive light from different directions, even a detailed scene can feel disconnected.
Compositing brought these decisions together, balancing the clarity of the character designs with the depth of the setting. Samuel is credited in the film as a 3D Environment Artist and VFX Compositor, a role that connects building a space with how it appears in the finished shot.
Giving doubt room on screen
The forest search begins with hope. As the day passes without an answer, Modi grows tired and starts to question what he is looking for. That change gives the quieter scenes a purpose: the journey needs room for disappointment as well as discovery.
A later musical passage lets his doubts and renewed resolve come forward. Our reading of the story is that perseverance becomes more relatable when we can see the uncertainty behind it. A beautiful environment can invite us into the film; understanding Modi's fear gives us a reason to stay.
Watch MODI and the Magic Stones
Watch the complete animation on TVS Entertainment below. The film is adapted from the storybook MODI and the Magic Stones; its end credits acknowledge the source and the wider production team.
For another look at a Sarawak story brought to the screen, explore Kumang and the Ungrateful Python. You can also view our animation and motion graphics work, or get in touch with Motion Foundry to discuss a project.
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