I like the stand used to keep the models upright while doing the walking animation.
Could you explain a bit about how you got Mrs. Basher to scowl? I'm assuming there was some way to manipulate the face and that it wasn't done digitally?
As a big fan of stop motion and animation in general, I'm glad to see that you're experimenting with this medium again.
Hi, Pierre, Thanks. There's so much digital animation/VFX pumping through all the channels — some of which is wonderful of course — that I find myself heading in the opposite direction.
Everything here is fully practical in-camera FX. It looks different, and people don't seem to mind the wires. The first scowl on the little stop motion puppet is just a head swap for another sculpt. The expression in the last shot is from a latex-and-wood, live-action rod puppet that's twice the size of the others with glass beads for eyes.
All the stop-motion is shot en plein air, animated straight ahead on a timer with no Dragon Frame. During the jump-and-tumble sequence, motion blurs are captured with stills shot in burst mode with 1/10sec exposures, compiled in Time-Lapse-Assembler. VO is in post.
I really like the animation of Woody when he speaks of "kissing" (scene 4), good poses and gestures! I wonder if you prepaired/planed the timing beforehand?
I agree, real handmade stuff just feels refreshing different and alive...
Tobias, No, this is really animation on the fly, mostly on a timer, which means changing a new pose every five seconds and guessing on the slow-ins and holds.
I like the stand used to keep the models upright while doing the walking animation.
ReplyDeleteCould you explain a bit about how you got Mrs. Basher to scowl? I'm assuming there was some way to manipulate the face and that it wasn't done digitally?
As a big fan of stop motion and animation in general, I'm glad to see that you're experimenting with this medium again.
Pierre
Hi, Pierre,
ReplyDeleteThanks. There's so much digital animation/VFX pumping through all the channels — some of which is wonderful of course — that I find myself heading in the opposite direction.
Everything here is fully practical in-camera FX. It looks different, and people don't seem to mind the wires. The first scowl on the little stop motion puppet is just a head swap for another sculpt. The expression in the last shot is from a latex-and-wood, live-action rod puppet that's twice the size of the others with glass beads for eyes.
All the stop-motion is shot en plein air, animated straight ahead on a timer with no Dragon Frame. During the jump-and-tumble sequence, motion blurs are captured with stills shot in burst mode with 1/10sec exposures, compiled in Time-Lapse-Assembler. VO is in post.
Clever... Also, your Spanish is very good...
ReplyDeleteI really like the animation of Woody when he speaks of "kissing" (scene 4), good poses and gestures! I wonder if you prepaired/planed the timing beforehand?
ReplyDeleteI agree, real handmade stuff just feels refreshing different and alive...
Greetings from
Tobias
Tobias, No, this is really animation on the fly, mostly on a timer, which means changing a new pose every five seconds and guessing on the slow-ins and holds.
ReplyDelete