I’ve been working on the drawn part of my film for the last couple of weeks without much time in the stop-motion studio. Got in there today to do some parts that I really wanted to add at the beginning. Think I got a really nice image to put on my business card.
I’ve been in the studio shooting stop-motion as much as possible in the run up to the rough-cut deadline. I’ve shot all the stop-motion parts and it’s time to devote all my time to the 2D part. After that I will do some more stop-motion, because there are some things I still wanted to try for the beginning/titles and for fun, but so far I’ve got what I need. I managed to reshoot the tattoo scene and the opening scene and I think they work a lot better and I enjoyed using the lighting and reflectors I borrowed from the loans store the “kino flow diva light” 🙂
Check out these new production stills:
Also you can follow me on twitter and instagram, that’s fun because I’ve been posting pictures directly from the set…
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.
Been getting lots of good feedback and I’ve made a few changes to the animatic. Hope it’s making more sense. Think it will be better with the new beginning and a bit of dialogue in, but this is where it’s at for now…
I was making puppet versions of Trip and I looked at various Toy designs to help me with the practical functions. I also looked at some paper-toy designs that inspired me to make my own, as a bit of an additional Trip giveaway. This was just a quick idea for one! There’s a really interesting book on paper toy design in the library called “We Are Paper Toys”
Gotye has a bunch of animated music videos, this one with skeleton paper cutouts is one I hadn’t seen before.
Below is my favourite: Seven Hours Without A Backseat Driver. It’s a dichotomy of cute and creepy, simple yet complex. Great song too. Animated by the Australian animation studio Rubber House. More than enough to make you want to move to Melbourne! http://www.rubberhousestudio.com/