In the early days of the commercial film, a filmmaker would first develop the concept and then try to sell it to a client. Joop Geesink knows that a few years ago Philips had a number of high-end puppet film commercials produced by George Pál. With Pál now in the USA, Toonder-Geesink use this as an opportunity to produce a brief one-scene animation test to convince Philips' top executive Sies Numan of their potential. He likes it, despite the somewhat coarse animation, and hands them the assignment.

George Pál

Seranata Nocture is in black and white, whereas the earlier film by George Pál were in glorious Technicolor. Because of war shortages, colour film was hardly available or affordable. Noteworthy is the fact that the character design is less stylized and more realistic, compared to Pál's puppets. For this film, a series of hand-molded replacement heads were used. However this technique to instil a puppet with believable human expressions was still in its infancy. It would be perfected when Harry Tolsma joined the studio.

Meer realisme

Also new is the use of flexible limbs. George Pál preferred to use rigid replacement arms and legs, which was a labour-intensive process do and restricted the animators. Joop Geesink encouraged George Pál's former associates to create a stop-motion puppet that was fully flexible. This film can be considered as an introduction this entirely new type of puppet.

Below is a picture of an error that was left in the original negative, showing the camera assistant holding the scene marker. This frame was accidentally left in the final negative. Little mistakes like these would be rare in later Geesink films.