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Houses
and exteriors: from sketches to final sets:
Curved Sets
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The
Curved set (1)
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1) This one looked like the most complicated
among those additional, curved sets,
so I wanted to deal with it first.
It's by far the most crooked set in
the whole film, with perspective twisted
as in M.K.Escher's renderings. I didn't
recall his works when I drew the sketch,
though.
I also wanted to see if it's going
to work at all, when seen through
the camera lens. So I've used for
the curved base one of the halves
from the Orphanage Park set, and matched
it in-camera with main shapes on the
drawing. Matching the houses to the
drawing, however, wasn't at all that
neccessary, so I just matched them
approximately. I planned to use the
other Orphanage's Park terrain half
for the bulge in the front right,
but this didn't work and I had to
construct a new curved piece. That
all worked with precisely locked camera
position only. However, I've found
out that
it's also possible, to gain some depth,
to move the camera forwards, as long
as it stayed on the longitudinal axis.
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The
Curved set (2)
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2)
That set was far easier to do, than
the previous one. On a plus side,
nothing, except for the Agent's shadow,
supposed to move on it, so it didn't
have to be firmly fastened in any
way.
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Curved
set (3): Fence in the Suburbs
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3)
I did this set towards the end of
shooting. I became more relaxed
with "the end at reach",
and therefore self-confident enough
to force, as precisely as possible,
copying the sketch that caused this
set in the first place. On the plus
side, nothing supposed to move on
the set, except - obviously - the
shadow, so with nothing physical
to disrupt it's balance, I've been
free to make it cheap, barely firm-enough
to support itself. Houses in the
background are just a facade, and
the fence in the front row is made
from leftovers of an used set -
the Santa's office fake log-wall
covers. In the process, I've regreted
not doing all the other sets this
way: fast, cheap, effective.
But
of course, it would only be possible
if all the characters were shadows...
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The
Curved set (4): The Train Set
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4)
The Train set is more about the train
than about the set, but nevertheless,
there was a set around it. I've used
the same piece for the base as in
previous three sets, just with some
small adjustments. I had to add a
strip of the sidewalk, and two rails
parallel to it, for the train, of
course. There was also a wooden fence
that served as a wellcome cover for
only partially finished train cars,
and there's been the background, naturally.
The background consisted of silhouetted
houses, but it was compromised by
lighting for the Agent's shadow. It
all had to be thoroughly adjusted,
in order to avoid hard shadows on
the skyline.
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The
Curved set (5): The Bridge
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5)
This last of the "curved"
sets wasn't previously planned, and
I've decided to build it after I shot
the "last" set, which supposed
to be that one with the train. It
was when I started to clean up all
the mess in the studio, that I've
noticed all the parts (already used,
though) that inspired me to do this
assembly. Moreover, suddenly I've
became painfully aware of the fact
that I don't have small puppets of
any sort moving in any of the wide
open sets in this film.
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| _1
The ARCTIC PIRATE index |
| _2
Color chart development, coloring and
light tests |
| _3
Storyboards, shooting plans, concept
arts, sketches |
| _4
Puppets, from sketches to animation |
| _5
Vehicles of all sorts |
| _6
Houses and exteriors, from sketches
to final sets:
6-I - Other Street Sets (3) |
| _7
Interiors |
| _8
Small props |
| _9
Graphics and maps for posters, banners,
press, signs etc. |
| 10
Shots against all odds |
| 11
Simple shots, confined spaces |
| 12
Basics: workbenches, tools, logistics,
etc. |
| 13
Miscellaneous |
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