For my stop-motion animation film, The Reality Clock, I experimented with creating props using 3D printing.
I modified a phonograph model from a previous film, Goodbye Heart, as part of a 3D printing workshop taught by Kurosh ValaNejad at USC. The resulting ceramic material print was delicate and required quite a bit of sanding, repairing, painting, and modification with miniature brass tubing, to achieve the final look. While it was worthwhile to learn the process, 3D printing was just as, if not more labor intensive than creating the model by hand would have been. However, this process would be useful for creating complex organic shapes that need to have perfect dimensions, or for replacement-animation pieces, such as were used in Coraline.