puppet

The Five Year old Clanger

A short post a long time coming. 

It's taken the mammoth displacement activity inducing horror of apply to jobs for me to finally finish my very own knitted clanger (from the original 1972 Clanger pattern in the BBC archives). Five years it's been sat, half-socked, waiting to have life breathed into it. There are mistakes, two different colours of wool and bite marks (from mice of all things) but here he is, finally comitted to film.

Yes actual film, this also served at an experiment for my first ever animation on 35mm film. The camera wobble actually comes from having to scan in the printed pictures (as the processing service didn't offer a digital copy of my photographs! Unimpressed!) but I think the overall result is really quite charming.

clanger_film_small_v2
He is, of course, turning the handle to my recently purchased Bolex H16 camera, with which the original Clangers series' were filmed.

 

Technical deets:
This was filmed on a Pentax K1000 35mm SLR camera with Pentax K-mount 50mm f1.7 lens on Vista Plus Camera Film 200 ASA. There are 13 frames in the sequence. 

“Birmingham” Music Video

"Birmingham" by OdjBox Music Video
Director

The finished form of our second year Music Video Project. A collaboration between myself, William Geraghty, Kathryn Vinclaire and Hannah Walker. This was a 'recovery project' as our Director left the project, and the course, after the first day of shooting and I had to step in from Producer role to Direct. William, in turn, took on the Producing role on top of his First Assistant Directing. 

The idea from this idea had sprung from the piece of music "Birmingham" by Odjbox. The remixed fast paced beat of the classic jazz led us to the concept of the old and new technology playing his music being in competition with one another and, eventually, violently interacting. 

It was a shame that we really only had a couple of days preparation because I don't feel that the story is super clear through the puppetteering, however I am very happy with the 'swag' pulled off by the iPods as they lead the assault.

This project was filmed on a Canon 5D Mk III and lit using ARRI fresnels and Kinoflo lighting. Cinematography by Kathryn Vinclaire and Camera operation by Hannah Walker. 

The Legend of Babushka

The Legend of Babushka

The Legend of Babushka was a commissioned piece of work for a local storyteller called Chloe of the Midnight Storytellers. When she heard of my interest in animation and filmmaking she approached me with the idea of filming a story. Being completely foolish I chose an 11 minute period piece set in Russia, in the snow, at Christmas. What came next was three years of immensly hard work as, through my GSCE's and A level exams, I spend my evenings planning shots, building set pieces, miniature furniture and consulting with my Grandmother, Doreen Fothergill, who designed and crafted all of the beautiful costumes in the animation. 

With this piece of work I had bitten off considerably more than I could chew but I persisted, as one Christmas, and then another, rolled by. Determined to have it finished by the third Christmas I simplified the opening, through the forest, to include my, then new, influence of Jan Svankmajer, where the trees became simple logs of wood before the house and shot the entire villages scene on the rotating stage. The rotating stage I would not choose to do again, and is probably the section of the film I am most disappointed with. The rest of the film however I am most pleased with. It is a personal testament to hard work paying off, and set a benchmark for me that, though not perfect, is always something to look back on and say "This! this was the point that I began film in earnest and knew that I wanted to continue making films." I had it ready for that Christmas, released it on the 2nd of December and received wonderful feedback.

I shot the entire film  on a Fuji Finepix S9600 (as I had invested in this beforehand for animation) and though I knew nothing of cameras at the time it did me very well on the project. The lens, though not interchangeable, boasted a 28-300mm range (10.7 times optical zoom) with very fine macro capabilities (1cm to the lens) with fully manual mode available, for exposure and focus. All of the stop motion was done very simply in-camera, with no additional software; edited in post on Windows Movie Maker.