Almost a decade ago, a friend of mine who knew I was into animation asked if I could do some stopmo for her for a documentary she was making. It was my first time doing anything film-related, and I learned a lot – mostly, that stopmo takes an insane amount of time, skill, and energy. Still, a fun project.
Here’s some pics from that process. Originally posted July 19, 2016
Rough storyboardMy table full of goodies. Plus deodorant (because I stink) and a set of juggling balls, because that’s who I am, /man/.First test headArm test, with wire bracingArm from frontStage floor made from Popsicle sticks.Brick wall and Popsicle stick stage.Final headProfile of headMore work table and work floorHead with bangs!Head propped up on neck. The head and hair are unbaked polymer clay, the neck is baked to provide support.Profile of head with hair. Looks so good from the front, little do you know it is a head OF LIESMic and hand. Hand is soft polymer, mic was baked.Mic and handTesting the lighting. As it turns out, I suck at lighting! A skill to develop in the futureBody. It is basically 2D because I was running out of time!Legs and eye lids!A makeshift armature to keep the puppet upright during shooting.I didn’t put the wire inside puppet, so it would be easier to remove as the puppet “melted”More or less completeTaped down the set but the damn thing moved anywayLights, camera, stop motion!BloopAs the puppet is, so shall we all be.
Veronica Dymond 