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The Astronomer’s Sun

Monday, September 6th, 2010

The Astronomer’s Sun is a short film directed by Simon Cartwright and Jessica Cope, and produced by Duchy Parade Films. It is currently on the festival circuit, and was recently awarded Best Film at the Northern Futures Awards.

We asked Jess Cope what her experience was using Dragon Stop Motion on this project. She had a lot of great things to say!:

“The main thing I would like to say about DSM is that it actually saved our film! I had wanted to use it right from the start but we had been put in touch with another company who were working on a new piece of software and as this was part of a funded scheme we wanted to keep costs down and help a local company out. Sadly this turned out to be a massive job and it was causing delays in our very tight schedule so we had to look else where.

“Not only was Dragon affordable on our tiny budget but it was SO clear to use whilst still feeling very professional and slick. I know I did not even scratch the surface of what it could do but it did exactly what I needed it to do at the time. We had so little time and I would recommend this software to EVERYONE!

“Another thing which I found INCREDIBLE was the brilliant customer support. I would send out an email to your selves and within half an hour I would get a reply…it baffled me that you could be so good due to the time difference between America and England.

“Dragon Stop Motion is quite simply FANTASTIC and so was the customer support. We could not have been more pleased.”

Thank you Jessica, for the kind words, and for making such a fantastic short!

The Astronomer’s Sun was shot using Dragon Stop Motion animation software and a Canon EOS 450D (Digital Rebel XSi).

http://www.astronomerssun.com/
http://theastronomerssun.blogspot.com/

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Accumulonimbus by Andy Kennedy

Tuesday, August 24th, 2010

Here is a great film that is not only fun, experimental and well photographed—it’s animated beautifully. That’s a tough list to pull off, so hats off to Andy Kennedy on this marvel. Oh—we should mention that Andy created the catchy music track as well!

From Andy’s Vimeo description: Natural and man-made objects on a spin cycle accumulate, disintegrate, and multiply. Created by stop motion animating clay on glass, the film is a meditation on motion and the life cycle of matter.

Halfway through production Andy started shooting with Dragon Stop Motion 2.0.

Andy Kennedy – “I have to say you guys put together a really phenomenal piece of software.”

“Dragon is the first piece of stop motion software I’ve used that really feels like it was created by animators. It’s a really well thought out program, and I find it very intuitive to use. I basically opened the program and was shooting scenes for my movie within 20 minutes. I love how well the live view features of the Canon SLRs are integrated into the work flow.”

Andy has a thorough “Making of ” Blog. Check it out.

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Johnny Kelly Presses Play for Guggenheim

Friday, July 30th, 2010

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Director Johnny Kelly and the team at Clapham Road Studios UK serve up another ambitious stop motion feast. Shot using Dragon Stop Motion animation software, the camera flies through full-size artwork, including a play button covered in real gold leaf.  The project is part of a collaboration between You Tube and the Guggenheim Foundation that will showcase creative clips from around the world.

They have already racked up over one million views. Make sure to check out the Making of as well.

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Bowerbirds, In Our Talons

Tuesday, May 11th, 2010

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Alan Poon shares his experience directing the 2008 music video “In Our Talons” for the Bowerbirds. If you missed it back in 08 Alan has just added it to his Vimeo Page. The ambitious clip features a dancing crab, black bird and two love bitten praying mantes.

“We had three different stopmo animators working on it. It was a tough but fulfilling project. I had DP’d stopmotion before, but this was really my first venture into stopmotion as a director.”

“One Dragon feature that worked out very well was the multiple exposures setting… the ‘fire mantises’ were backlit (on purpose) and we used blue card stock to cover the rigs, but the blue was way too dark to key out. We ended up doing two exposures, one for the ‘picture’ backlit, and one that was front lit for the blue card. In post we could grab our matte from one channel and apply it to the other, it worked out great.”

“The crew was small and very hard working. My friend and collaborator, Adam Makarenko who built the sets and DP’d, had to leave town for a job, so I was left to manage on my own. During those last weeks, I was working on average 15-16 hour days on set, having to spark up the sets in the morning so they were warm for animation (to avoid massive set shifts) and then strike everything in the evening and backup all the footage for the day. But there’s something so magical about stopmotion… I’d usually go home and watch the footage a bunch of times and then start rig removal before I went to bed!”

In Our Talons

In Our Talons

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Here is what one of the animators, Sylvie Trouve had to say about the project:

“It was great working with the director Alan Poon; I loved his vision behind the video. He was great in that he respects and trusts the animators he works with; being open to their collaboration and giving them room to play. It’s not often you get a chance to make a crow dance as if he was a russian ballet dancer. The puppets were also extremely well done and great to work with and the song of course was great to work to; i must of listened to it a thousand times. It’s hard to pick a favorite shot, i love so many of the landscape, the crow changing feathers, the crab curling up etc. Working with Dragon made my life so much simpler as an animator, its a good stable program, easy to use with a nice interface. It’s like eating at a restaurant with good lighting.”

Click here to watch ‘Bowerbirds, In Our Talons’

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Max Winston’s “I Live In The Woods!”

Sunday, January 24th, 2010

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Burning through the animation festival circuit, Max Winston’s “I Live In The Woods!” picks up awards and kudos. Cal Arts grad Max Winston’s thesis film is a high energy stop motion feast of colors and colorful characters. Max bravely and seamlessly weaves together on-set stop motion with live actors and exterior shots, creating a short film with an unexpected and fresh esthetic.

Check out “I Live In The Woods” site

Check out a time-lapse making of.

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Allison Schulnik tackles Grizzly Bear’s: Ready, Able

Saturday, December 19th, 2009

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Artist and Filmmaker Allison Schulnik created this mesmerizing stop motion film for the song “Ready, Able” by Grizzly Bear. Aliison’s painting and sculpture styles translate amazingly into the clay characters and dimensional abstractions that inhabit the clip.

Allison had this to say about working with Dragon Stop Motion:

“Dragon rules the world woooooo wooooooo !!”

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Make sure to check out Allison’s work, including her short film “Hobo Clown”

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Kirsten Lepore : Reel Opener

Sunday, April 12th, 2009

We recently received an email from Jim Geduldick, who runs the New York Based user group called AENY (After Effects New York). He turned us on to the stop motion work of Kirsten Lepore. Kirsten shot this fun opener for her reel with Dragon Stop Motion. Kirsten shares a bit about the rigging on her blog. Make sure to see Kirsten’s complete reel and films on her site.

www.kirstenlepore.com

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Animating on ‘United States of Tara’

Saturday, January 24th, 2009

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I met Jamie while working on ‘Coraline’ in Portland, OR so I was excited to get the chance to work with him again on the USofTara credit sequence. I was also very interested in testing out the features of his stop-motion software, Dragon.

When I arrived, Jamie had shot a test using a real pop-up book synced to temp music. We studied how real pop-up books moved when opened and wanted to translate this type of movement into the sequence. Many setups were actually built to move like a pop-up but some needed help, and others, well, we took liberties with the movement. We never strayed too far though.

Dragon was a joy to work with. I had previously tested the basic controls but on this job I was able to see what else it could do. Calculating camera moves for our manual rig, Multiple exposures while shooting, and utilizing the Cinematography window were just some of the benefits of working with this amazing program.

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