production blog of a stop-motion feature film 

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Yesilcam – Setup

Published on April 23, 2013, by in Kara the film, Shoot.

Final touch up in the studio before the shoot.  

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Yesilcam – Colours

Susanna Jerger, as always, did a really nice job on this set with the colours especially in capturing the richness and dreamy quality of the colours of the inspirational. By adding multiple layers of paint and pencil work, she achieved very dense yet subtle textures.  

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Yesilcam – The street with cobblestones

The face of Yesilcam Street has changed in the last years drastically – and not for the better unfortunately. But we’re nostalgic people – we’re sticking to the good old days and taking inspiration from the first times we visited the street.  

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Yesilcam – chimneys, tiles and airconditioners

The Yesilcam Street set lives from the incredible attention our set builders gave to its many – many! – details. And they never grew tired of being asked to avoid right angles and exact parallels – without getting wobbly or amorphous shapes.  

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Yesilcam – the first building blocks

A pretty solid wooden construction was built for the houses to ensure that the set would not shift or shake – especially since we knew that during the shoot parts – roofs or single houses  - would have to be removed mid-shot and reattached later several times. Preferably without causing major set shifts.  

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Yesilcam – how we started

We had an inspirational design, a sketch and then glued and taped together another analogue blocking.

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Yesilcam – building Kara´s street

Now that everything is “done” (which of course still is not…), we finally get around to putting together more pictures from the set-building process. Our most complex set – both in building and shooting – is the set of Yesilcam Street, Kara´s street. This street is based on a real location – except for the

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It’s a wrap!

Ok, so this is a big moment for us…After presenting work-in-progress on the teaser at Cartoon Movie, which went really well and the emotional reaction we received was more than we could have hoped for, we jumped right back into the shoot. We still had two set ups to get through, one of them being

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