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.
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.
Castign proved very tricky and actualy neded up taking alot of time to perfect. We tried almsot everythign to get the silocne to work, we decompreseed, before after and durign casting, added catalist reducsed catalist, enjected, painted, enjected and painted. To know availe we asked anyone and everyone we could to try and figure out why it wouldnt work. In the end we took the most low tech approach possible we did deomcpress and simly bult up the silcone in layers inside the mould and the pressed them together usign the final layour of silone liek glue, we trippled the catalist as it was 1% and compltely undictatebale to the scales when were makign up the small amount we needed for each componet( roughly 10-20g each time). Finally success came in just teh nick of tiem ad we were able to create a fully function puppet the frieday before shooting (beging on the monday)
The set is up and ready now after what feels like month of planning, Sasha made the base for the set out of wood and chicken wre at hoem in her garage and the transpoted it the UWE studios so we could add more wire, papper masha, plaster and essetialy pebble dash the entire thing- this was the section we got the most hand on board to help getting three fellow students to help plaster and pebble dash as it was easier to get it all doen in a week so plaster ddint dry before we coudl cement in the peblles, pretty much the hole thing was PVA'd over to seal in the rocks and reduce the amount of movemne of pebbles on set whalst shooting.
We also madea bunch of other props including a mini crab which eventualy ended up being teh only crab we used through out the film, two scales of seagul, flip flop, boat, "no seagul"sighn, stars and a bomb.
This is a space for development work of my grad film BORIS-NORIS. A slap stick stop-motion film about NOT sharing.