This week emoungst other shots my main focus has been on one of the most liked shots in the storboarding sequence, I scene in which one of the brothers falls spectacularly though the air and dives head first into the pebble beach. Timing was insanly imporntat hearing, this was a shot I asked for as much advice as possible form fellow students and tutors, in order to fully pin point the exsact frames that created imapct whalst ramping up the comedy value. Time on production is gettign tight now with only a few weeks to go, every day, hour and minute count- I think it's importnat to mention taht behind the scenes Model maker Sasha Lawrance was creating extsra parts and other props and materials for shots as they were coming up- due to the tiem restrains on this project we stayed largely in production in model making thorugh out the animtion stages-not ideal but normally neccessary to keep to schduel.
This week was the first time I have ever shot two puppets at the same time it was also the longest shot i've done so far! It was also a crash cause on just how importnat rigging is-these puppets due to there size and hight love to fall down...every single minute. Just look at how much rigging there is! Despite falls, this was a pretty cool shot to do, I perhaps went I little over board with operlapping action on the nose but in gernerall i'm happy with the shot.
This weekmy main focus is predometly been working on the closeups on the first half of the film (before teh brotehrs meet). This mostly focused around slap-stick gags and the puppets reaction and timing. This has been really fun as its quite controlled moveents, and the timing has been really tightened up in the naimtic, so I was very clear and what was exspected in each shot. Howver there has still been flexabilty for exspermintashion which was importnat to me to have through out animtion, as this si where I feel most of teh better animtion I do come from. I've remained on shcdeual at this point, i'm trying to break days down in to types of shot to try and reduce the amount of time I have to change the camera set up-to make the production as efficent as possible. So far so good.
First week of shooting and i've decded to tackle the sea. Despite being set on the beach i've kept the shots of the sea to a minimum. This really the only shto that'll we'll see the beach/sea in full and is bascally and establishing shot to infor the viewer of the chrcater seroundings. The sea was created by placing a painted sea paiting under a plastic sheet coverign in a thin layer of vasalen and then putting on a few layer of cling film-quite effective. I'm going to get rid of the focus pull on this shot as i don't think it's really worked.
Just before I began shooting I was introduced to this creat new Nickolodian show called Pig, Goat, Banana, Cricket created by Dave Cooper and Johnny Ryan. This show really incaptulates the enery and style I have been trying to bring into my own work with Boris-Noris. I think it can be best discribed a cartoon americana, this goofy, boizare, wide eyed, rubber hose, acid coloured type of animtion which can also be found in earlyer shows like SpongeBob, Ahhhg! Real monsters, Uncle Grandpa and many otehr both in the 90's and now really tap into a child hood facination with animtion, there soemthign exciting and comforting about working in this style. Even beofre I 've started workign I know this is a style I wnat to revist, in a smaller scale, agian. I also wonder about the potential for beign hired for this style of work as many practiners I have mention in my Case Studys here have been involved with adapting shows like this into a stop-motion episdode, however they do have the added advatge of being based in america where most of these shows are made.
This is a space for development work of my grad film BORIS-NORIS. A slap stick stop-motion film about NOT sharing.