STOP MOTION PRO SOFTWARE

IвЂ™m a night worker, and spent several hours at the window, looking at Montreal skies and lights. I think these two inspirations connected pretty well to create this atmosphere. When I began this project I had just moved to Montreal. The finished film is as much inspired by the song, as the place I was in while making it. The rest was I discovered by doing and by painting, so there was a lot of room for surprises and experimentation. And I drew quick sketches for the complicated scenes. I wrote the general idea of the course of the film on post-its and I stuck them on the wall behind my desk, so I always knew where I was, and where I was going. But after few attempts, I decided that the result wasnвЂ™t strong or true enough and I put those rushes away, so I could animate freely and make something more intimate and unique. I filmed live things and rooms, and then I would re-paint. I started by using a rotoscoping technique. So I repainted the whole frame each time. I wanted the whole image to move, to live вЂ“ even when there wasnвЂ™t camera movement. I animated between 3 and 8 seconds per day, depending on the complexity of the sequences. There were two parts to my process the animation and the editing.

And because i would often listen to it and focus solely on drums, voice, lyrics, or melody вЂ“ I was still able to hear new things each time.

I think IвЂ™ve listened to the song more than a thousand times. It was important for me, especially for the abstract parts, that I was responding to the song conversationally like a running dialogue. I based the number of frames per second (sometimes 8 sometimes 12) on the rhythm of the music.Д®verything is based on the rhythm. The more paint, the darker the image, and therefore the animation becomes about gesture, and the texture of brushstrokes itвЂ™s a very physical, organic process. The single light source came from beneath the glass, revealing the textures and details of brushes movements.

This process took place inside a dark room so that there wouldnвЂ™t be interference or changing lights on the paint.

STOP MOTION PRO SOFTWARE

I would paint on the glass with oil so that it wouldnвЂ™t dry, and I could play with it for hours.ДЄ camera, fixed overhead above the animation table and plugged in my computer, would capture my paintings frame by frame and create the animation using the software Stop Motion Pro. So I experimented a lot before jumping into to the darkroom.Д«asically, my technique was to paint on a piece of glass fixed to a light box. It was obvious to me that paint would be the key.

Stop motion pro