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 is a space for development work of my grad film BORIS-NORIS. A slap stick stop-motion film about NOT sharing.