This summer was very hot and sunny in Baltimore. What did we do?
The answer is that we spent majority of our time in a very dark studio shooting stop-motion and compositing.
We are wrapping up our summer with one of the most difficult shots in the film, scene 03.
It’s 30 seconds of continuously drifting dolly movement, two separate tilts and a 180 degree nodal pan. (translation: it was difficult)
We’ve thought about how to shoot this for over 6 months and luckily it worked after a few tries.
WHAT A RELIEF! First stage is over and now we just have to put the CG characters in and composite. Almost there…:)
When I scaled down the character rigs, this happened.
Two of the characters (It happens that both of them are females) didn’t scale down properly. It ended up being an easy fix with the skin but I thought the way they mutated are SO COOL!
These are great character designs and what a happy accident and surprise this is….
So who will win this battle? Natasha with an armor or Baker w/ scissors hands?
Since the film takes place in a town, we needed a few more background characters.
Most of the characters are based on our friends in the Netherlands. Now that we no longer live in the Netherlands, we realized that this film is becoming a little memory capsule for us.
We were happy to make more bg characters because it meant that we can add more friends that we made there.
From left is Urte, a very talented animator who is now 8 months pregnant. Ton, the director of NIAF who will ride a bicycle and perhaps eat cookies. A man with two white dogs (the second dog will be digitally duplicated) who walked in front of our apartment everyday.
*Arms are missing because I am reusing the same arms in CG
It feels like I made my Netherlands in miniature and brought them all to Baltimore.
In a week, we’ll move to a new studio space. A lot of work to do but SUPER EXCITED. I think all the characters will be happy there.by
This is the last set of the new film, the clock shop. I’ll need to add a few more details before shooting, but for now what a relief to finish all the sets!
The construction went fast, it was only less than 2 weeks.
I wish I could live here. (Well, I actually prefer the bakery over this clock shop)
We put so much care into these miniature houses that they are far more thought-out and decorated than our own house.
Our hope is that once we move, we will slowly put more care into our surroundings, which will happen soon. Because starting June, we are moving into a new studio which we will share with our friend, Rachel from Red Prairie Press ! So excited! I have been missing the artist studio environment since I left the Netherlands so when Rachel asked if we want to share the studio space with her, I did not even have to think for a sec. (Animation talk: I only thought about it for only 1 frame, and did not need 23.976 frames)
Pictures will come soon when we’re settled in.
Back to set building! One set a week!
After a long period of staring at computer monitors, it’s so nice to physically touch and smell materials.
These are all minor sets for 1-3 shots. So not much detail compare to other sets.
A peak into a little bedroom of the baker.
Plump Lady’s living room.
Oulala. Loving time!
Now, moving on to the final set which is the clock shop. I’m having mixed feelings of excitement to finish set-building and sad that it’s the last one since it’s my favorite part of making a film.
Anybody in Baltimore area who wants to join me making 50+ miniature non-working clocks….?
I’ve noticed that it’s been awhile since I posted work-in-progress from our new film.
Are we even working on the film? Yes we are. In fact, working VERY hard!
Since September, it’s been mainly character animation in Cinema 4D.
We are happy to say that 95% of the film is animated!
But it looks like this
We call this “Film Puberty”. It’s this awkward, middle stage that you don’t want to show to anybody.
Remember when you were in middle school and you just wanted to hide out in your bedroom?
As you can see, without the texture, final render, background and atmosphere, it doesn’t feel right.
With all the rig controls (colorful boxes, arrows and lines), the scenes feels so mechanical.
In a way, the animatic stage had more emotion.
So we have 13.5 minutes of this awkward and cold stage of the film.
That’s why I haven’t updated anything.
And this is how it will look.
Max has been working on the final lighting, rendering and compositing and sequences are starting to look like how it should be.
I will be back on making the last 3 sets next week. I’ve been in front of the computer for the past 6 months that I’m excited to be back on working with my hands. Soon enough, we’ll pass the puberty stage and have more mature parts.
While in Japan at my parents house, I found a drawing I did in 2nd grade.
There was a bakery called “Morning Cloud” near by that I absolutely loved. It had a French Country style decoration and some clay miniature breads on walls and shelves. I just loved the atmosphere, smell and all the details.
Well, what a strange coincidence that we are making a film that takes place in an European bakery?
Or did I happen to do a concept art when I was 7 years old?