The Bigger Picture: site launch and interview
Yesh and Tash are very proud to launch the site for the film The Bigger Picture! This ground-breaking short was created by Director Daisy Jacobs at The National Film and Television School. Read about how we created the site and enjoy the interview with the Director and stop motion animator below.
How we created the site
We looked at a great deal of film promo sites and found many to be lacking in relevant info, hard to navigate or simply boring. To convey some of the 'life size' feeling of the film, we used a background texture with full screen repeat and carefully selected the colours and fonts to match the film.
The homepage is all about the trailer, likewise the 'making of'. We embedded the Vimeo clips, clean and simple. On the stills page a full gallery of photos from the film and behind the scenes shots can be viewed. We also created a minimal press page linking to a Dropbox folder to download images, films posters and info docs.
We're very happy with the result, check the site out at www.thebiggerpicturefilm.com Let us know what you think in the comments below!
We grabbed an exclusive chat with Daisy and Stop Motion Animator Chris Wilder as they prepare for the premiere in London next week.
Tell us a little about yourselves… what are your respective backgrounds and how did you end up at the National Film and Television School?
Daisy: Chris and I went to Central st Martins for our degree in Illustration and then Postgraduate in Character Animation. I then when on to the NFTS. Chris followed me (again) but not actually enrolling. He worked as head animation assistant on 'Sleeping with the Fishes'- which has just won a BAFTA and then as the stop motion animator on 'The Bigger Picture'.
Chris: I am a 'pilot fish'. I'd describe Daisy as more of a 'blow-fish'.
D: That's funny because I once asked you what animal I would be and you said "Bird of Prey" without hesitation.
I’ve just watched the trailer, ‘stark and darkly humorous’ seems like a good description. Where did you find inspiration for the story?
D: It's based on my family! Worrying times....
Tell us about the animation techniques you’ve used, is it literally life-sized?
D: Yes it's life-sized. The main characters are actually 6 foot 4 painted men- so I had to reach up to paint them! The sets are a mixture of the painted items, 3D Papier Mâché objects and real furniture.
C: When a painted character reaches into the space to interact with a 3D object they themselves become 3D, be it their arm or their legs.
How does working life-size differ from more traditional stop motion?
D: I would say it's more like a whole body experience- very physical!
C: Because the sets are so big the camera and the computer are usually positioned a long way away from what you're actually animating, so you spend a-lot of time running back and forth across the room to check if what you're doing is working.
We were fortunate to visit the set during production, piles of arms and legs everywhere! Did you go a bit mad in there with no natural light for months on end?
D: I had a fit of hysterical laughter- which lasted late into the night once but at least I didn't cry (Chris did five times...)!
C: This film broke me. I cry at least once a week now. I'm a mess. However now that the film's finished it does feel odd not to be eating my lunch next to a pile of discarded body parts.
"This film broke me. I cry at least once a week now. I'm a mess."
The film looks beautiful, credit is due to cinematographer Max Williams! What challenges did he face with regard to lighting and getting the shots?
D: Lots of issues with half the set being flat- so getting the lights around that and faking a 'real' space.
C: The sets were massive so I think it was also an issue of Max having a restricted space in which to work.
Do you plan to continue using this technique?
D: Absolutely, it's really working now and we can probably push it much further still.
C: No more rain please. Rain is painful.