This one minute short questions whether the “grass is greener on the other side” It’s an emotional tale of a sack trying to be accepted and included.
Michael Dudok de Wit – The monk and the fish Michael Dudok de Wit – Father and daughter
Sylvain Chomet – Belleville Rendezvous Sylvain Chomet – Advert for insurance
Calon TV – Igam Ogam Tv Series Steffen Schäffler
In the corner of a childs bedroom. A been bag falls in love with a spinning top the spinning top dances around she falls off a stack of books and is saved because the bean bag goes to get a slinky to help. Ends with the bean bag and the spinning top together as if they are dancing.
Childrens toy box has shapes bouncing in and out giggling. A near by bean bag sees them and wants to join in. Eventually he gets in a nd they are all happy.
I have realised in previous projects that my biggest flaw is sound, this is why I have decided to get help with that from a proffesional studio in North Wales. Also I am getting help with the armatures and lighting because I have benifitted in the past from outsider input in these areas.
I have decided that this piece would be best made in 3D Stop motion this is going to make the project more expensive however it is feasible because having done my budget I have worked out that the production should cost me £405.
Due to the simplicity of this project I will be able to create a film of high quality in the time given it will also give me time to work on other projects.
The story has changed from the happy ending. I a m thinking now that he wouldn't be happy when he has gotten into the box as he still really does not fit into their “world”.
Roles and Responsibilities
There will be four people working on this film; Lorna Bailey, John-lynton Bryan, Emissary and Emily Ivens.
Lorna Bailey John-Lynton Bryan Emmisary Emily Ivens
Director Armature creation Music Lighting Assistant
2D Block Tests
This test was created to work out the exagurated movement of the blocks in a 3D space.
Working out the setting
For the setting, where this will take place, I would like somewhere forgotten or ruined. I am thinking about a tip this would mean that the toys would have been thown away. In a blown down house like in a hurrican or after a war or in an attic.
This weeks targets
Go help John-lynton on “The Collector”
Work out a budget.
Go into university to talk to Ade at 12noon
Work on animatic
Work on the sound for the animatic
Put the animatic and sound together
Send the finished animatic with sound off to Emissary studio to get the first dreaft music created
Price Discount Total
Paper 5 5
Set Creation 200 200
Armature Creation 65 65
Space Rental 225 225
Canon Digital camera 384 384
Tripod 204 204
Lighting 432 432
Sound 150 150
Computer 1000 1000
Adobe CS4 1665 1665
Travel 200 200
Total 4330 4125 405
I have decided that I want my project to have as little of an impact on the environment as possible so my prosal is to create a film that a the paperwork uses resycled paper, all of the wood to create the set will be recycled.
This weeks Targets
Get the colour book from the library
Create some colour swatches and concept art
Think about what fabric I can use for the bean bag.
Get a schedule sorted
Do some masks for “the Collector”
Fix the animatic
send animatic off
Think of ways to create the models and sets
I have worked out a schedule that gives me time to work on John-lynton Bryan's film “the Collector” every Monday and Tuesday.
Initial concept ideas
Weekly overview of schedule
Colour concepts and making ideas
Props and models
Armatures for the blocks and the sack
Tests armature and lighting test
Hand in on the 17th
Armature Design for the sack
New Concept art
Set mock up
I feel that the blocks need to interact with the bean bag and “warn” him off trying to get into the box.
Also I needed to work out how the bean bag would stand up from being seated against a box.
The boxes were made out of envelopes. I have always wondered why boxes on Bob the Builder etc. are always made out of something hard. Now I know that if you accidentally touch cardboard boxes, they move quite a lot even if they are stuck to the floor but if you accidentally touch a solid one it will not move as long as it is glued down.
I needed to make a note of how the blocks move so that it was easyer for me to remember which block to use next.
Problems found when filming
I have had many problems in filming my film with the camera moving having moved the camera on two separate shots and having to re shoot them I had to hot glue all of the tripod legs and the lighting rigs. The computers crashing this was a common problem that could not be fixed I only hope that this will not be a problem with new computers for the years after me. The camera having a dead pixel, this is something that I only noticed near the end of my shoot and so I would have changed to a different camera if I had spotted it sooner. I wasn't able to get the shot that I wanted for the beginning scene, as I was using a small digital camera for most of the shoot, when I wanted to do the pull focus on the sack in the beginning scene I found it too difficult to get the set to look the same as the rest of the footage. So I had to shoot it how it was and leave out the pull focus. The feet falling off the armature was a big problem as I had to stop a lot find them and screw them back in place. The preview being very low quality image this made it difficult for me to see if I had replaced the replica squash and stretched shapes in the same place as the original. The miniature set was very small and fiddly and so on reflection if I were to do that scene again I would have built the set bigger.
The sound has taken longer than expected. In the sound studio I found that I was very much in control of the kind of sounds that I wanted. We recorded the sounds of all the objects fist. I took time to match the sound to what was happening in the action. I used a xylophone to create the sound of the different blocks a bag filled with polystyrene beads for the bean bag and a canister for the ball noises. Then using Ableton Live suite 8 I moved all of the sounds around in layers made the ones further away from the camera quiet and the moves where the sound was coming from with the left and right levels. When I was finished, William stepped in to adjust things more and create the ambient score.
Here is a few words from the Musician of Toys, William Evers-Swindell.
As a composer I approached "toys" from various angles. The original score was based on a motif of freres jacques and whilst it fitted the animatic well, when we transposed it over to the completed animation it lacked feeling. Having both been adamant from the start that we didn't want to go down the clichéd route of scoring the action and movement with definite and obvious musical techniques (see tom and jerry cartoons) we decided that a score exploring the emotional content of the animation was far more befitting.
The difficulty was in trying to gauge the correct levels of musical input to achieve the desired result without drowning the work in too much faux emotion. A score that had followed each emotional decision and action that the beanbag took was unneeded. Instead a broad paint brush of rich evolving sounds was used to give the animation its soul. On first viewing I believe the work can seem perhaps without direction due to the use of this broad paint brush, but this is the essence of the piece. In my opinion It is in fact a short allegory of life itself (in which many of us lack direction). The sack comes to life and is presented immediately with vibrancy and excitement and longs to be a part of it. The blocks initially seem to be unhelpful as they push the sack away, but this is actually due to a yet unknown reason. Seeing the sack giving up hope the ball appears to help. What is in fact happening is the ball is feeding on the lost hope and lack of confidence of the sack. It fails to let the sack think about the possible reasons the blocks do not wish the sack to join in with their apparent fun. Once the Sack is trapped within the box we see the blocks ascend to the skys and leave the sack alone in the dark.
From my point of view the animation covers the pitfalls of life perfectly. The blocks are warning us that to truly enjoy life you must view the circus of their actions from the outside, with the freedom to experience other things as well (the detail in the rest of the attic alludes to this idea). The ball could be construed as the villain of the piece. It preys on the weakness of the sack to force it to conform to what it sees as exciting. The ball knows that the more objects it can get to join the circus the better its own entertainment will be. Once inside, the sack is trapped within an ever lasting darkness of which their is no escape, it can do nothing but wait for its own death. The moral of the story as far as i am concerned is to find your own path to happiness through exploration of yourself and the world around you.
From a technical point of view the sounds were captured with a Rode NT1A microphone. The block sounds were created using an old xylophone and the sack noises were created with a sack filled with polystyrene beans. All the layers were mixed with the ambience and music using Ableton Live suite 8 and then mastered in Wavelab.
Removing the wires in post production
Tags: "the collector" "lorna bailey" "animation" "stop-motion" "newport university"