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
We’re happy to be among the selected projects at Cartoon Movie this year and we’re taking a little break from the shoot to present our film in Lyon in a few days. Having wrapped the longest (1700 frames!) and most complicated shot of the teaser just yesterday, I am looking forward to seeing the footage
I am always in awe of what Anne manages with a few brushstrokes (I’ll probably get a call from her about this little word “few” in here…) Anyway, here are some “rough” style frames she prepared as guidance for compositing and matte painting from the landscape set we recently shot.
“A lonely bus travels on an inter-city highway under a crescent moon.” How much work can such an innocent sounding sentence from the script create, you might ask. Well, here is the answer: a round-up of the 2.5 weeks of shoot on the ‘landscape’ set. (And this is excluding the set and prop building…which we
… here is a test picture fresh from the set, which should be added close to the animation tests below, as green isn´t Kara´s favourite background colour. Warmer tones suit her complexion better.
The road from the inspirational drawings to designs to armatures and puppet making on Kara and Mr. Fleas have been long and winding but here are two pieces of test animation that makes it all worth while. It is very rewarding to see how beautifully the puppets move in the hands of our great animators.
We’re afraid Berlin just lost its status as the biggest Turkish community outside of Turkey: Istanbul arrived in Hamburg today! Straight from the workshop. Paint having just dried.
The set building process: First, there was an inspirational. Then (and those photos I spare you) I started to do a small plastillin blocking and drew rough groundplans of the buildings visible in the inspirational. Then Eugen Kelle started blocking in 3-D until we had a set big enough for the camera move and sent
A lot of work has been done so far – and in between Sinem´s updates from the shoot I will try to squeeze in more documentation on puppets and sets – even though they are done and infront of the camera already. Here´s Kara´s neutral facial and some pictures of how she got her long
It’s about 1 am in Hamburg, Germany and I stand in the studio as I write this post. It’s been non-stop for our small but fine team for the last few weeks and there is no end in sight just yet…so I have to squeeze in a quick update between lighting and camera and s3d