Annnd... WE'RE OFF!!!
This final installment of This Big World takes a look at live action puppetfilms that might incorporate different types of effects, from green screen and compositing tricks to analogue, on-set effects such as smoke, image distortion, or puppets blowing bubbles!
This final installment of This Big World takes a look at live action puppetfilms that might incorporate different types of effects, from green screen and compositing tricks to analogue, on-set effects such as smoke, image distortion, or puppets blowing bubbles!
Effects can be as simple or as technically complicated as you want to get yourself into. In the 'simple' category, here is an example of a rain-effects test I did early on with a very rudimentary Clint Eastwood cut-out, some strands of fishline, and a couple of flashlights. It's not perfect, but has potential!
'Rain Test with Clint'
Fun with fishline, flashlights, and The Man With No Name
Here is a clip from a fairly bad Industrial spot I made in 1990 for California's AT&T Phone book. One of the challenges I faced was making the dragon puppet blow smoke. A length of surgical tubing and a cigar (cough, cough) offscreen did the trick:
While some puppet tricks may seem to be high-tech, many analogue effects can be achieved for relatively little money, with a little ingenuity and materials from the local hardware store. This is one of a number of Nike commercials I worked on back in California in the 1990s starring Lil Penny (voiced by Chris Rock). At 00:15 the puppet blows a bubble with actual bubble gum, which I had pre-chewed. Kinda gross, but if you need a puppet to blow a bubble, let me know! For this I used Bubblicious gum, a length of surgical tubing, and an air compressor:
Video of smoking dragon puppet coming soon!!
While some puppet tricks may seem to be high-tech, many analogue effects can be achieved for relatively little money, with a little ingenuity and materials from the local hardware store. This is one of a number of Nike commercials I worked on back in California in the 1990s starring Lil Penny (voiced by Chris Rock). At 00:15 the puppet blows a bubble with actual bubble gum, which I had pre-chewed. Kinda gross, but if you need a puppet to blow a bubble, let me know! For this I used Bubblicious gum, a length of surgical tubing, and an air compressor:
In an entirely different vein, Berny Hi has explored a variety of analogue effects using projections that can be integrated during the shooting, such as some cool shadow tests, and has discovered a number of really amazing ways of distorting projection using mirrors, prisms, crystals, and warped glass, such as wine bottles or glasses.
Video of Berny's experiments coming soon!!
Here is an example of a very simple film created using a couple of puppets shot on green screen and composited over a background of moving image footage. Based on Goethe's poem Der Erlkönig. Thanks for this link, Sylvia Zieman!
This is not a difficult process, and opens up a lot of possibilities if your puppet film needs more going on than you can create while shooting.
If you are really ambitious there is no end to what you can create with a combination of compositing and live-action puppetry. Check out this amazing example by Andrew Huang, Solopsist:
If you are really ambitious there is no end to what you can create with a combination of compositing and live-action puppetry. Check out this amazing example by Andrew Huang, Solopsist:
There is room for all kinds of special effects! Let your imagination fly!
*********
SMOKE AND MIRRORS: SEMINAR ONE
Preproduction for Live Action Puppetfilms that use SPECIAL EFFECTS!!
Preproduction for Live Action Puppetfilms that use SPECIAL EFFECTS!!
Wednesday July 4, 2012, 7:00 - 10:00 p.m.
********
Over the next few weeks the focus will be on PRE-PRODUCTION!!!
1. STORY/SCRIPT
1. STORY/SCRIPT
Story
- pick a simple, visual story that would be difficult to execute otherwise
- three minutes or less is plenty long enough
Script
- draft a script around the story
- envision the puppetfilm as you write the script - remember, it can be a silent film!
- aim for a film that is under three minutes long, to keep you sane
2. VISUAL RESEARCH
- pick a simple, visual story that would be difficult to execute otherwise
- three minutes or less is plenty long enough
Script
- draft a script around the story
- envision the puppetfilm as you write the script - remember, it can be a silent film!
- aim for a film that is under three minutes long, to keep you sane
2. VISUAL RESEARCH
Throughout your process, it is extremely helpful to collect images, ideas, colours, patterns, and any other elements that give you the feeling you are looking for with your project.
Right away: start compiling at least one of the following, if not all three:
- production journal: a physical scrapbook/notebook
- dream box: a container to hold images and items for inspiration or fabrication
- concept blog: a digital scrapbook for links and uploading digital media
Identify images that will inform and enhance the visual approach to your story
- textures, patterns, motifs, and tactile finishes that speak to your project
- style, palette, feeling, shadows, etc.
- identify the mood and feeling that best serves the story
Character and set design
- be inventive and take some risks!
- utilize the medium!
- why puppets, why not actors? you have control over the look of everything!
3. SHOT PLANNING
Visual Storytelling
- consider line, tone, shape, color, camera, etc
Storyboards: much more important in puppetfilms than regular filmmaking
- they dictate HOW you build your sets, puppets, etc.
- they dictate scale and functionality, character and set gimmicks, etc
- they dictate what kinds of camera tricks, tracks, cranes, etc. you’ll need
** storyboards are essential!!! before you build your puppets/sets, you MUST have your shots figured out. Otherwise you will either waste a lot of fabrication time and build things multiple times, and/or have a frustrating time shooting **
YOUR FIRST ASSIGNMENT, SHOULD YOU CHOOSE TO ACCEPT IT:
Right away: start compiling at least one of the following, if not all three:
- production journal: a physical scrapbook/notebook
- dream box: a container to hold images and items for inspiration or fabrication
- concept blog: a digital scrapbook for links and uploading digital media
Identify images that will inform and enhance the visual approach to your story
- textures, patterns, motifs, and tactile finishes that speak to your project
- style, palette, feeling, shadows, etc.
- identify the mood and feeling that best serves the story
Character and set design
- be inventive and take some risks!
- utilize the medium!
- why puppets, why not actors? you have control over the look of everything!
3. SHOT PLANNING
Visual Storytelling
- consider line, tone, shape, color, camera, etc
Storyboards: much more important in puppetfilms than regular filmmaking
- they dictate HOW you build your sets, puppets, etc.
- they dictate scale and functionality, character and set gimmicks, etc
- they dictate what kinds of camera tricks, tracks, cranes, etc. you’ll need
** storyboards are essential!!! before you build your puppets/sets, you MUST have your shots figured out. Otherwise you will either waste a lot of fabrication time and build things multiple times, and/or have a frustrating time shooting **
Build A Preproduction Package!! (July 4 to July 18-ish)
- script: a very short script
- it can be a silent film - keep it under 3 minutes!
- style: what is the LOOK and FEEL of your project? explore/identify
- palette: limit your palette and choose colours for a reason
- set design: the more concise your design, the easier your build will be
- character/puppet design: ideas about what your puppets will look like
- storyboards: storyboards are essential!!!
- inspiration collection(s): the more you have, the richer your film will be
- anything else: any other visual concepts: mechanics, tests, etc.
Feel free to come down to the Underground Puppetfilm Works to focus on your preproduction and brainstorm with other Puppetientists!
puppetz rule!
- it can be a silent film - keep it under 3 minutes!
- style: what is the LOOK and FEEL of your project? explore/identify
- palette: limit your palette and choose colours for a reason
- set design: the more concise your design, the easier your build will be
- character/puppet design: ideas about what your puppets will look like
- storyboards: storyboards are essential!!!
- inspiration collection(s): the more you have, the richer your film will be
- anything else: any other visual concepts: mechanics, tests, etc.
Feel free to come down to the Underground Puppetfilm Works to focus on your preproduction and brainstorm with other Puppetientists!
