SET THE STAGE a short stop-motion film to promote the 17 DAYS Festival

   Early in June I received a phone call from my good friend Tom Philion, the CEO of United Arts Council for Greater Greensboro. Tom and I have worked on many projects over the last dozen years or so, always to good end. This call started a conversation about promotion ideas for the up-coming 17 Days arts event in Greensboro. After some thought, I came up with an idea for a stop-motion piece with a story of a stagehand who, after making a blunder, saves the day. Tom was intrigued enough to give me the go ahead, so I started assembling a team to produce the 30 second film "Set the Stage". 
   

   After a call to fellow filmmakers Stephen and Marie van Vuuren, I had the start of what would become a fantastic and enthusiastic team of stop-motionists (I think I may have coined a new term). The team was rounded out with Emma Hadley, an art student at VCU, Daniel Irons, a film student at SCAD, and Lynn Wagoner. I am grateful for all of their help, this project would not have come to life without them.

    With Marie as lead set designer helped by Lynn, Emma doing the design and construction of the props and figures, Stephen working out timing and technical issues during the shoot, and Daniel handling the camera and lights, we had all of the aspects of producing a lovely project. Now keep in mind - this is a lot of work for six people! We had a total of almost 30 days of work - from planning to editing - by the time it was completed.  

    My inspiration for the story comes from an experience that I had many years ago while working as a stagehand on a fashion show. The pre-set was for the front rag to be in the up postion, set parts in place and lighting set for the first scene. Perhaps five minutes before showtime, with a full house, I needed to be in position in the wings stage right, but I was in the wings stage left. The only way to get to where I was supposed to be was to walk right across the stage, in full view of the audience. I was halfway across when I realized maybe it would have been better to walk upstage behind the backdrop. I was mortified, but I kept going on with the confidence of a 23-year-old. Of course, I walked right into the director who was waiting in the wings. This experience contributed to my style of directing, which helps keep me calm, even when not all is perfect. Like our animated hero, a figure of notoriety that goes way beyond Greensboro, I went on to help save both the day and my respectability, and I am reminded that we often get a second chance to prove our value.

   The set features the number 17 as you would expect, a tip of the hat to our friend Harry Blair and the beautiful Greensboro Oak Leaf design he created around 1985 for the Carolina Theater, and many of the feature performers and art that will appear during the festival.

     We all had a hand in the animation. On the opening shot, we had the camera dollying, focus pulling from a chandelier moving up and out of frame, people in the audience sitting down, and the curtains opening. That was the shot with the most different movements, but perhaps not the hardest shot to pull off.  We have different answers for that depending on who was the main animator for a given set-up. While on there can always be a bit of tension with the difficulty of some of these shots, everyone had fun is ready to produce another stop-motion soon, well, maybe in a few weeks, or perhaps a month.

Christmas Magic... behind the scenes

In the beginning, there was an idea. Mark had an idea for a scene of an enchanted forest, perhaps at dusk or in the evening. Over the course of several months, three days of shooting, 720 still photographs, and 500 snowflakes, this idea developed in to "Christmas Magic," a stop-action animated short that we are very excited to share. We were pleased to have Natalie Jester and Kelly Swanson at Ink Production Services collaborate with us, and you can see their artistic touch throughout. You can see the video on our Blip.tv channel.

Although the final product is only one minute and 30 seconds long, months of research and planning went into creating this piece. One of the most difficult parts was finding the right elements for the scene. Trees from model train sets and miniature villages were tested for size and shape. Also, arranging the trees to create the perspective of depth in the forest took careful planning. The snowflakes in the scene were arranged on three different planes, also to give the illusion of distance. Finding tiny decorations to fit our hero tree was another challenge. Eventually, lights and ornaments intended for a dollhouse Christmas tree were located. (and the transformer required to provide electricity for them, without burning down the studio!)

Finally, our deer was assembled by Kelly and Natalie, with articulated joints to let him walk, jump, angle his head to look at the tree, and of course, wiggle his ears and tail!

We hope you enjoy viewing the final result as much as we did creating it!