Upload
p4nd3m0n1c
View
225
Download
0
Embed Size (px)
Citation preview
8/4/2019 Stop Motion Pre Production - Negotiated Brief
http://slidepdf.com/reader/full/stop-motion-pre-production-negotiated-brief 1/10
“The Recital”Mini Production BibleGeorge Tymvios
8/4/2019 Stop Motion Pre Production - Negotiated Brief
http://slidepdf.com/reader/full/stop-motion-pre-production-negotiated-brief 2/10
STEP 1: Story / Plot
The story is about a street musician who enters his imaginary world while
performing where he plays a solo violin piece in a large recital hall to a
complete audience. His imagination is shattered as soon as the clapping
of the audience turns into the clank of a coin falling into his bag, bring-
ing him back to reality. The musician however remains content with the
knowledge that his love for music is real even if only a street musicianrather than a well-known violinist. That is all he needs. The piece is open to
interpretation since no dialogue exists.
8/4/2019 Stop Motion Pre Production - Negotiated Brief
http://slidepdf.com/reader/full/stop-motion-pre-production-negotiated-brief 3/10
STEP 2: Rough Storyboard for Initial ResearchExpanding on the plot, I created the key points that
would drive the rest of the research forward. This allowed
me to recognize the requirements in terms of costume,
scenery, props, etc. during both the imaginary world
and reality.
See Attached Storyboard
8/4/2019 Stop Motion Pre Production - Negotiated Brief
http://slidepdf.com/reader/full/stop-motion-pre-production-negotiated-brief 4/10
STEP 3: Costume Designs – Reality and Imagination
Reality: Late 1930’s, Early 1940’s style
clothes. These clothes give the impression
that the violinist lived his days and they also
add a certain style and elegance to him.
Imagination: Long-Tail Tuxedo. No hat
will be worn. Black bow tie. These are theclothes which he feels like he is wearing
while playing his violin.
8/4/2019 Stop Motion Pre Production - Negotiated Brief
http://slidepdf.com/reader/full/stop-motion-pre-production-negotiated-brief 5/10
STEP 4: Scenery – Reality and Imagination
Reality: The reality will be set in the late evening, on a dark London street,
giving the impression of a cloudy day. The street will be a straight one and very
quiet. This is because the violinist doesn’t care if there aren’t many people
around – he only plays for his love of music. There is also a brick wall behind him,
very close to some steps leading upwards. Two street lamps will also be shown,
one of the far left and one of the far right.
Imagination: The imaginary world will be set in a concert hall giving the impression of being in an old opera
house. The violinist will be standing in the centre of the stage. It is necessary for the room to give out the impres-
sion of its enormity in size and also to portray that there is a full-house in terms of the audience who have come to
see him play. The audience will be taking pictures with ash.
8/4/2019 Stop Motion Pre Production - Negotiated Brief
http://slidepdf.com/reader/full/stop-motion-pre-production-negotiated-brief 6/10
STEP 5: Puppetting (Creating a Puppet)
Wire Armature
Alternatives?
In order to create the armature, winded up aluminium wire was used to form the basic
structure of the body, providing mobility and exibility. Milliput was used to simulate bones
and join the wires to each other since it hardens fairly quickly and provides a stone-like
malleable effect.
1. Ball and socket
Ball and socket would be an alternative to using a wire armature. However, this tech-
nique is expensive and very tricky to get right.
2. Balsa Wood
Balsa wood is also an alternative to wire armature. However, it is not ideal because the
process to prepare it seems time consuming.
8/4/2019 Stop Motion Pre Production - Negotiated Brief
http://slidepdf.com/reader/full/stop-motion-pre-production-negotiated-brief 7/10
Volume and how it would be achieved
Liquid Latex and FoamBy getting the best aspects of the two previous techniques,
I attempted to use liquid latex with foam. This proved to be
efcient and the technique which I chose to use. The ben-ets are that latex adheres a lot better to metal; it dries a
lot faster; and it allows for exibility. By using foam, less latex
is required, giving the desired volume without the constant
repetition of dipping the model into the container of latex.
This is the chosen technique.
Foam and PVAThe problem with foam and PVA is that it
takes virtually forever to dry and doesn’t
always stick to the metal.
Solely Liquid LatexIn using liquid latex alone, the wax tech-
nique was followed. The issue with using
only liquid latex is that it takes a long time
to prepare, requires a bigger container,
requires dipping the whole model into thecontainer, and requires a lot of repetition
in order to get the desired volume.
8/4/2019 Stop Motion Pre Production - Negotiated Brief
http://slidepdf.com/reader/full/stop-motion-pre-production-negotiated-brief 8/10
HeadMoulding (2 failed examples)1st Failed Example: I used air-dry
clay to mould the head. The prob-
lem with this technique is that un-
fortunately the weather doesn’t
permit for a fast process. It takesforever to dry and you would not
know if the mould is working until
you actually remove it which might
set you back hours or even days.
However, if the mould is properly
prepared, it allows for very good
usage with latex.
2nd Failed Example: Polymer clay can
be prepared a lot faster since it can be
cooked in a conventional oven. How-
ever, since not as rigid as air-dry clay, it
could produce unwanted elasticity inthe material (deform the mould). It also
does not allow latex to dry in a closed
container.
Sculpting Clay (great success)
Using sculpting clay as the actual head
provides a lightweight, rigid material.
Since my character won’t be making
many facial movements, sculpting clay
will be ideal instead of using liquid latex
for the head.
8/4/2019 Stop Motion Pre Production - Negotiated Brief
http://slidepdf.com/reader/full/stop-motion-pre-production-negotiated-brief 9/10
Replaceable Mouths/HeadsThe problem with the movement of the mouth could be overcome using replaceable mouths with K&S or mag-
nets. Magnets are a lot easier to use and apply than K&S and also a lot cheaper. The same method as the re-
placeable mouths could be used to allow the eyes to blink by replacing the upper part of the face. Since the
occasions in which the character would need to blink are few, a replaceable head method could also be used
(by replacing the whole head with its alternatives).
Costumes- Sew little outts
The outts of both the reality and imaginary world will be
sewn in order to allow customisation according to need.
Both costumes will be prepared over summer.
8/4/2019 Stop Motion Pre Production - Negotiated Brief
http://slidepdf.com/reader/full/stop-motion-pre-production-negotiated-brief 10/10
STEP 7: Materials- Sculpting Clay
- Liquid Latex
- K&S
- Lego
- Air-Dry Clay- Aluminium Wire
- Magnets
- Eyes
- Soft Foam
- Material for Clothes
- Milliput
STEP 6: PropsAll props will ideally be made out of sculpting clay because anything can be customised.
Reality
- Violin and Bow
Possibly two versions need to be prepared, a small and a large version for the extreme close-ups.
- Carry Bag
- HatWill be sewn over the summer.
- Street Lamps
- Coins
- Car (Maybe)
Imagination
- Concert Hall (Stage, Curtains, Seats, etc.)
- Audience Figurines
- Violin and Bow
- Rose/Flower - Audience Cameras
LED control panel.