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Interview with Bruno Caetano, Co-Director of Stop Motion Music Videos "Cinegirasol" and "Fundo da Garrafa" for Portuguese Band "Os Azeitonas"

There are few things that are quite like heartbreak – heartbreak of the soul-crushing kind: More than any commonly shared languages or cultural beliefs or social practices is something so universally shared and understood as the pain of heartbreak. However, what makes heartbreak so odd, so unique next to other kinds of pain, is its ability to confine its casualty in a feeling – a prison of a kind isolation that is amazingly personal, inexplicable, and easily crippling. There seems, of course, an easy fix – communication, sharing past pain, past heartbreaks. Words, however, so often fail us. And yet, there is a cure, albeit one that gets so often overlooked. It lingers, waiting to be discovered after the rest have failed. The cure is called art, and its remedy for heartbreak can lie in unexpected places – a cluttered attic, a dormant Netflix queue, a musical instrument that has long since been forgotten. Perhaps its healing power comes from its extraordinarily personal quality, which a…
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"Early Man" Assistant Director Ben Barrowman Explains Incredibly Detailed Process of Scheduling an Aardman Production to Adam Savage of Tested

In Stop Motion Geek’s third week of featuring the YouTube channel Tested’s excellent behind-the-scenes look at Early Man – the most recent stop motion feature film from Aardman Animations – special effects devotee Adam Savage interviews Early Man first assistant director Ben Barrowman, the mastermind behind Aardman’s “schedule boards” and the coordinator of the entire production schedule for the film.

“Schedule boards” is the term that the folks at Aardman Animations use to refer to the rows upon rows of massive cork boards which are used to plot out the schedule across an entire feature-length production and that are positioned on mobile wall-mounts, one next to another, together spanning an entire wall of one of the studio’s buildings.


The boards are seemingly inauspicious – light gray in color and well-worn from the hundreds of thumb tacks by which they have been impaled since their introduction on Aardman’s second feature-length production, 2005’s Wallace & Gromit: Curse of …

Aardman Model-Making Workshop Manager Jimmy Young Displays Aardman's Puppet-Making Techniques for "Early Man" to Adam Savage of Tested

Upon moving from Aardman’s plasticine workshop to the heart of their model-making department, all around special effects enthusiast Adam Savage – outfitted in his iconic, plain black t-shirt, beige fedora, and thick-rimmed glasses – is greeted by an in-depth display of half a dozen of the puppets designed, engineered, and built for Nick Park’s Early Man and by Aardman senior model maker and model making worship manager Jimmy Young – donning a plaid, blue-and-white button-up with the sleeves rolled up as well as glasses and a black “DC” baseball hat. Young proceeds to explain to Savage Aardman’s process of puppet building and model making in Tested’s most recent video documenting Savage’s in his tour of Aardman.


“Jimmy, when you came to my cave last year you brought some of your amazing handiwork and gave me a little taste of your guys’ wonderful engineering of these puppets,” begins Savage, referencing this video, in which Young and Aardman senior model maker Gary Roberts gave anothe…

Aardman Senior Model-Maker Jay Smart Reveals Aardman's Puppet Materials and Plasticine Techniques for "Early Man" to Adam Savage of Tested

Along with the usual humdrum of press ranging from critic reviews and interviews with voice actors regarding British animation powerhouse Aardman Animation’s latest feature film – Early Man, a “prehistoric underdog sports story,” in the words of the film’s director Nick Park – has come by the way of the YouTube channel Tested something really exceptional and especially meant for stop motion enthusiasts – a deep-dive into the materials and plasticine techniques Aardman uses for their puppets presented by television personality and special effects aficionado Adam Savage and Jay Smart, a senior modeler at Aardman.

During Savage’s tour of the plasticine department, Smart gives Savage a demonstration of a system Aardman began developing for Chicken Run, their first plasticine-driven feature film, to methodize a system for mixing large batches of plasticine to produce a particular, standardized color of plasticine. The technique developed, it turns out, was to amalgamate several different …