A few months on from the end of filming and editing, the film its way to festivals and to help aid it in its travels a brand spanking new trailer for your lucky lucky eyes!
The final week of shooting can be broken down quite simply into one long, potentially trying shot and a bunch of pick ups form through out the film. The long shot also involves a movign camera and was used to cerate a close up pan of the beach which shows the devestashion after the exploshion. The moving camera was created using the arm of a rostrum clamped on its side to the desk and the hand cracked a serton number of notches between each shot. This makes up the longest and one of the last shots in the film. I don't want to reveal the endign of the film to much but can say, I kept the pan quite simple as verry little moves whalst the cameras was panning, and the settled and long of the camera when we come face to face with the bortehr once again. Who by this poitn where glued to the set to reduce un wnated movement but also as theye wern't going to be needed for any other shots after. We created the burn effect on thr objects with charchol. The rest of the shots where predometly thing flying thoguh the ares, pick ups from previous shots, mostly for continuety.
After recking our brains for months on how to create the very importnat exploshion in the film, the day finaly came when I had to shoot soemthing- this week. So between myself, Sasha and with some help form Fiona. We decided to do this (see photos) basicaly we died a punch of wadding and cotton sheets, in various colour of red, ornage, yellow and grey. Sasha had soem led lights that created a range of disco like colours- which would act as the fire and light withing the explosive cload. The cloads and fire steam was cerated by distreshing and pulling the webbing and tacking it loosely to later be pulled apat in shot. This was one of the only shots I had help animting on as I needed someone to push the button or hold the cload between shots. It was a long thrantic few days to create this piece, but once edited within the other quick shots that make up the exploshion sequence, i'm confident it will give the impact I want. We ahd looked at creating a real exploshion and compoting it in, but i felt at this point that as we had used hand crafted effects for all other parts of the film, it would be jarrign now to change that- we looked at Wes Anderson Fantastic Mr Fox for explsohions, fire and general practicle efeftcs as now most explsohions even in stop-motion are composited in at lower frame rate. Which is still an option if this doesnt work.
The fight cload was difficult in so much i wasnt sure how to create it, in the end I just used a huge ball of wadding (or bear stuffing) and then used cut out cload shapes on wire to create drifting dust cload comign off the rotating fightign mass. I shot everythign on sepret plates, the brother going in for the punch, the cload and the dust cloads and those sterotypical pullet out arms, legs and heads as they fall out of the cload, I will have to edit the shot to see it in all its glory.
The eye smear shot was probaly the one I was worried about most as I new id have to rig each indevidual partspretly to allow me to then move them out of shot to creat a poping action. I also created variou levels of eye smears-although there only on shot for a frame I was really pleased at how this shot came together.
My only regret is that I did'nt use this technque earlyer in more shots, but on the postive side it really adds impact when you get to that shot.
This has been another week of close up and mid shots- now in the secound half of the film when the two have met and begun to fight, these scenes mirror the previous scenes but now in an attack, effect, respond type of set up. Which is an incrdbly boaring way to say there now ripping each other apart! However this week i'd like to bring soem specia attenion to the real star of the show- the crab. He is my animtion reward, any shot I have with this guy is a challenge but always exstreamly reward, multple legs and side ways motion-the crab simply is a freak of nature, at first glance mechancal and inasly comlicated, when you break down a crabs actual cycle, its just noncence, they should really be able to move. Broken down which ever way ther going the lead with the legs in that direction and the legs on the opposite side push. They are ffectly crawling and dragging there heavy solid body across the teraine. There claws are solid powerful clamps-which in this film get used alot. He is my favourite puppet and is no bigger then my thumb!
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.
This is a space for development work of my grad film BORIS-NORIS. A slap stick stop-motion film about NOT sharing.