A further collection of images from my latest short film – The Lighthouse Keeper. One of the most difficult shots to film was the boat scene, I went through a few different iterations of cutouts with varying levels of successes and failures. I originally tried to use the same cutout of the man from the previous scenes but I wanted this scene to be fairly wide angled to show a lot of the landscape as the man moves towards the lighthouse. I had to make a new cutout of our hero about one thirds the size of the original and get it just right as the weight from the LED light and lantern on the right meant that it was heavier and in previous attempts warped the paper and flopped the boat downwards – making it difficult to move across the screen. A nice surprise that happened with this scene is when the cutout was slightly further away from the stage, the blue LED lights lit below bled onto the boats undercarriage and helped allude to water. Another scene that was difficult was the pinnacle moment when the Hero lights the lighthouse with his lantern… the amount of times I filmed this because the characters arm was ripped off because of the weight of the LED is something I don’t want to mention – it actually was disemboweled a few frames after what is shown, but you would never know that.
The first group of stills from my latest short film – The Lighthouse Keeper. Originally the colour of this film was going to be all warming sepia tones coupled with inky blacks, I found this lovely textured brown packing paper thrown amongst the pile of amazon boxes and discarded clothes in the store room of our house, after sticking the packing paper onto the picture frame that would become the stage and lighting it from behind – I soon realised that the paper was too thick and the resulting black silhouettes were not as prominent as I liked, I needed the paper to be thin enough and the light to be strong enough that you could see some elements within the distance of the protagonist, to show more depth but also show that he is moving from a variety of different landscapes. I ended up using white grease paper and as for the colour changes I bought a strip of LED lights for previous long exposure experiments that ended up working well with the grease paper so a lot of the colours chosen for pinnacle parts in the film are meant to bring the viewer deeper into the psyche of the protagonist using colour theory.
Truth be told when I decided I wanted to make a short film for this kick about regarding the strange landscape of Dungeness and Derek Jarman’s Prospect Cottage and garden I was feeling rather blue when the idea came to me. I don’t know why I sometimes torture myself when I feel sad, but the melancholy song that brings tears to my eyes entitled Twice by one Swedish group I admire called Little Dragon was playing in my head on a loop. A lot of the scenes from The Lighthouse Keeper are inspired by the gorgeous music video which can be seen here. The original story for The Lighthouse Keeper was a lot more melancholy, coinciding with how shit I felt, but I couldn’t accomplish it with just two hands and would have needed an assistant to help me with puppeteering the characters. While sitting on the idea for a while I decided to change the story to a more uplifting one so that I could accomplish it, and I think it turned out a better one.
I then abandoned this project for some time. The stage has been looming behind me for far too long as focusing in on perfectionism of the sets, lights, and movements of the characters felt relentless, trying to delve into a different medium one that is hands on and one that I can’t delete away mistakes was at times really testing. I really wanted the film to be as analogue as possible and for everything to be shot in camera, but realising it was an impossible approach and that I would have to rely on trickery done right to look like it was all in camera was the right methodology and ended up as a far more enjoyable experience. I leaned on newer technology as well as predeceasing technology that old films did so well.
A lot of behind the scenes footage has been filmed of what went into the making of this short film but I think I would rather let it be and not ruin the magic by showing how it is done… or showing the many instances where the stage toppled off the table, or when the characters arm flew off, or when my fan for the weather scene took everything along with it. Dismantling the stage, folding the grease paper, popping the many tools and props into jars and putting the little characters to rest in neat folders feels nice but in an odd way as there is something so unique and cherishing about finishing a film that you made with your hands, my bedroom certainly feels a lot roomier now that the stage is no longer.
The transformative words of Gaston Bachelard is this weeks Kick About over on Red’s Kingdom.
If our last Kick-About together introduced all of us to subjects far-removed from our daily lives and wonderfully esoteric, this week’s prompt, courtesy of Gaston Bachelard, returns us to more familiar spaces, as we explore together what makes from a house a home, and between us producing new works in a short time.The Kick-About #46 ‘Not An Inert Box’ — Red’s Kingdom
When I seen the prompt for Kick About #40 over on reds Kingdom I wanted to see if it was possible to make an animation using the same analogue technique of scraping patterns into black painted glass and using the magic of long exposure to produce a time-lapse of images to see the growth of each burst of light. It was possible – however my original efforts were undesirable and left things a bit muddled. Instead I tried to opt for something simpler by taking photos of each glass setup in pin prick focus and another in a diluted blur to then sandwich both the images next to each other so that a burst of light pops with a simple hard cut in the edit.
I wanted to mimic the life force of a firework display and have the festivities start off slow to gradually bubble to a climax before the the lights fade and the sound of people are no longer completely drowned out. Truth be told I made things harder for myself by shooting each image in 4K and was left scratching my head as to why it was originally painfully slow to edit this short film, by changing the resolution of each image to something my laptop could handle and reimporting, it was a complete joy to edit further. It was the kick in the arse I needed to get on with things and to remember the joy of seeing a short film through its end, lets make it on time for the next one.
It has been a long time coming since Phil Gomm with Reds Kingdom and myself had a long chat about all the creative endeavours underway. Everything from Pools, The Green Glider Animated short, The Lighthouse Keeper and delving into the freelance realm is discussed below. Have a gawk and a listen.
It’s been rather too long since artist-in-residence, Graeme Daly, and I sat down for a proper blether about his continuing adventures as a freelancer, film-maker and photographer. I keep up with Graeme’s various creative endeavours via his Gentle Giant blog and Twitter feed, but nothing tops an old-fashioned chinwag…Artist-In-Residence: Graeme Daly #6 — Red’s Kingdom
It has been a bit since an update for The Lighthouse Keeper. I have been continuing to film scenes during the early hours of the morning and after a failed attempt at butchering some fake tea lights I caved and found a better alternative for the protagonists all important emblem of caged light. Shadow puppet animation is a completely new realm for me and with it comes a slew of hurdles to overcome but experimenting and noticing the techniques of how light affects shadows is a really fulfilling. Here is some screenshots of some filmed scenes, more to come.
This weeks kick about over on Red’s Kingdom revolves around the life and times of German animator Lotte Reinager who was the pioneer of shadow puppet animation. The responses from all the creatives offer an eclectic bunch of contributions to feast your eyes on. When doing research for the Howard Sooley – Prospect Cottage prompt I came across the inspiring work of Reinager and since then I have been busy cutting, gluing and making for a shadow puppet animated short entitled The Lighthouse Keeper which centres around the peculiar landscape of Dungeness and a couple of burley blokes. Creating something for the sake of creating and figuring out the hurdles and bumps is what proves most enjoyable about delving into a fresh medium that I have yet to attempt. The stage is now set, the characters are ready to move, the lights are on and with it the sheer joy of seeing the cutout shapes and silhouettes lit up ablaze brings a smile to my face that makes the absolute bomb site of my shrinking bedroom all worth it.
I am sharing the majority of the cut out shapes, the stage and silhouettes that will feature in the film as well as some lighting and staging tests that feature the main protagonist. I will be showcasing all the nitty and gritty process here, things that worked, things that didn’t and how I plan on animating elements that would require more than just my two hands.
It has been far too long since I have updated here the goings of The Green Glider Animated Short. Truth be told the rigging and skinning process of making an animated character move is a big ugly obstacle and the part of the pipeline that definitely is not my favourite, however it must be done! I had the usual array of fuck ups when rigging and skinning the main protagonist of the animated short – Ash. Pose space deformers would mess up out of the blue making it so that poor Ash would have tumours growing out of his asscheeks and elbows or one of the lovely glitches of Ash’s whole face sliding down his jowls in attempt to put him (or me) out of misery.
I am not out of the blue with the rigging and skinning process just yet, I have Ash’s body rigged and skinned and now it is onto the face. Just the sheer idea of seeing the multicoloured floating shapes hovering around Ash and knowing that he is able to move within the greyness of Maya is exciting. I can almost taste the much more enjoyable animation process in the near horizon and can’t wait to bring some life to his pasty face.