Using a pale green for Pepsi in her Tattoo studio (looks a bit off key here…) She’s looking out of the window in this shot. Is it working out OK?
The last 2 weeks we had lectures from Phil Hunt from studio AKA and director Ben Hibon, not only were they lectures brilliant their advice and observations on our work was really accurate and very helpful. They were both really clear about what they thought needed changing to improve the story.
Thanks to them and Steve I’ve made some quite big changes to the story and I feel it’s really taking shape now, the improvements have helped me figure out exactly what I was trying to say with this film and I feel I’ve got some renewed confidence about the idea.
I also got more help from Ioli and she was so encouraging and really payed attention to the new idea, bringing new possibilities not just for the acting but for all the elements. She has a really great eye and was really positive about me retaining my personal style, experimenting and making the most of my strengths rather than worrying about my weaknesses.
The new animatic shows Trip, still having a bad time at school, but in the new version he is the only puppet and everyone else is 2D. The tattoo is his first attempt to be more 2D, and eventually his connection with tattoo artist Pepsi is what brings him from an isolated stop-motion world into the 2D world. I want to keep the 2D world loose and sketch with the essence of my line drawings. I hope I will improve my stop-motion animation by focusing on the single puppet, rather than spreading my attention too thinly over several puppets.
I feel I need to spend the money to get a more professional armature because I know there are definite limitations with my home-made versions, I’m stalling slightly because of the cost, but I know it will be worth it.