Chainsaw - an interview with Dennis Tupicoff

Earlier in the year I met Dennis Tupicoff at HAFF after having just seen Chainsaw his 2007 hybrid documentary film about love triangles, chainsaws and a legendary Australian bucking bull called Chainsaw.

Dennis is well know in Australian and internationally as an animator and director. He has made films that use live action, animation, fiction and documentary and “all of the above”. I was inspired by his film Chainsaw for it refreshing Australian humour, its poetry and seamless free associative story telling. It fascinated me that this was made by the same man who made His Mother Voice a documentary animation based on an audio recording and I was eager to chat to him about all things documentary, animation and archival material.

We recently on skype for a more in depth conversation and Dennis was also kind enough to take a look at a rough cut of Just The Two Of Us. It was a good time to show him having completed the animation and with the next stage being a sound mix and a grade. Dennis’s main response was for me to look at how to marry the quality of the audio to the images of the film. I was not quite satisfied about the flatness of the drawn characters and the colourful car. In one way I liked the contrast to the archival background but I think Dennis picked up on this difference and challenging me to think about it again. Discussing his films with him also made me appreciate the representation of depth and volume through his distinctive use of composition and silhouettes. Thinking about these ideas I found a new way to approach the flatness and to marry the quality of the sound with the quality of the picture by introducing a textured element to the film.

New grade test:

Rotoscoping is sometimes derided or seen as a lessor art form than cartoon drawing, that it is somehow cheating and not equal to the hand made craft of traditional animation. Dennis is a filmmaker who is not restricted by genre or dictated to by fashion or negative industry views. He reasons for using rotoscoping in His Mothers Voice was because it wanted it to be “removed from reality but move like reality.” And for Chainsaw it was because he wanted a style that fitted seamlessly with the Ava Gardner footage which he wanted to use untreated to show it’s raw emotion. He also was attracted to the rotoscoping as he felt it fitted with the adult themes of love, jealously and suicide in the film. This was interesting for me as I reflect on the choices I made in using rotoscoping. In my previous film I have used live action only as a reference for movement from which I drew only as a side by side guide. My first instinct was to use this technique again but the more storyboarding and design I did, the more rotoscoping seemed to fit the best  particularly when pictures are played in sync with an actual recording of a real life person. This is essentially a design choice. I prefer person like characters that have a strong connection to reality but this isn’t to say that a cartoon character would not work but I style I prefer. Coming from a very structured live action classical editing background I tend to construct my films very much using classic film language that fits well with the photographic language of rotoscoping. As an editor it is natural for me to use this screen language in animation design as well. Dennis has made films with both cartoon characters and real looking characters. Each film for him has a different design ideas to fit the different stories. 

Visually Dennis’s films are striking for there graphic qualities, there use of light and siluette and for the camera moves that somehow remind me of the way one interprets images in graphic novels. Dennis thinks that this is primarily because he is not a painter and because “the closer I am to black and white the more comfortable I am” and because it is a visual language he has developed that he finds simple and effective. Dennis says he was drawn to animation as “it was a type of film making that I could do on his own, I didn’t have any money… working with actors was a huge undertaking”  and jokingly he says “some how I thought animation was easier that’s how deluded I was” What he likes about animation is the way you can construct a story using motion, sound, design and nearly do exactly what you want. He says in terms of audience he has no idea where the place for it is when he starts. When he makes a film (every 3-5yrs) he says he usually gets to make it the way he wants filtered through a lot of control mechanisms where he has learnt what he can do, how much it costs to do certain things because he acts as his own producer along with co-producer Fiona Cochrane for the last 10years.

Dennis describes his film Chainsaw as “a fictional story wrapped around a whole lot of non-fiction”. It takes the audience on a ride where you don’t quite know where you are till 15 mins into the film. Seeing Dennis do this so well gave me a boost of confidence that I could make a film about a very small moment in time that doesn’t answer some of the questions it raises.

While my film changes the fact that all the letter takes place in the car (where only a small part of it actually took place there) I still see it as a documentary. Dennis’s film His Mothers Voice came out in 1997 challenged people ideas about genre and documentary first for it’s unusual structure (you hear the dialogue twice) and second for it’s interpretation of reality with the use of rotoscoping. Ironically His Mothers Voice was not selected for IDFA the year it was submitted even know it has the reputation of showing adventurous documentaries and know other documentary festival in the world programmed it either. However 10 years later IDFA included  His Mothers Voice in a retrospect of 50 animated documentaries starting from 1919 to the present so this shows that peoples idea’s of what a documentary is has certainly changed. Dennis thinks that audiences are more open to being challenged these days through exposure to visual story telling in music videos and advertisements but that long form films are in a way still archaic and could be more adventurous in the way they tell stories. Chainsaw was interesting for me because of the way it poetically moves between fiction and non-fiction. Dennis says that he sees Chainsaw as a lot of potential shorts films ‘slammed’ up against each other and that he has done this in a number of films (Darra Dogs, Dance With Death) and it is a way of writing that he is very comfortable with. Generally he thinks it is a post-modern world and that people are open to wilder ways of story telling. 

More information on Dennis @ www.dennistupicoff.com/

Reflections on OFFF Barcelona

Sometimes the best thing you can do for your project is to walk away from it for a while and come back with fresh eyes. Travelling to the OFFF festival in Barcelona was a opportunity to do this.  I went to over 10 different talks mostly about interactivity and how story telling works within this frame work. I came away with new knowledge and I reflected on how I miss the collaboration side of film making as I try to fill many roles in my graduation project. The conference being in one of the most beautiful and creative cities of the world I have been too also gave me a big injection of inspiration and encouragement to achieve my creative goals.

Some of the companies whose talks were of great interest were B-reel, UNIT 9 and on a individual basis Brendan Dawes who really stood out for his originality, playfulness and his passion for experimentation.

B-reel have a great philosophy on working with people from different back grounds which they believe helps creative thinking and has a huge influence on their work. While a lot of their work is interactive and design they are expanding and have just opened a documentary part of company. The company recognises that every body is a entrepreneur and also have room in their company for experimentation between projects which ones again feeds their creative environment. They often spoke about collaboration and I will be very interested to follow more work from this company. 

One of their large scale projects was weblab which was a collaboration between the London Science Museum (who provided the exhibition space and expertise in working with children), Tellart (who build the machines), B-reel, Universal design studio and Biblioteque (who did the interior design)  to make a experiment using HMTL5 where users from all over the world and visiters to the museum could interact exploring the web.

UNIT 9 started their talk with an interesting reflection on how web design has changed over the last 10 years. They looked at traditional menus, how we interact with the browser and scrolling with 2 fingers. It was interesting and revalent to me as I am in the middle or designing the interactivity side of What Love Sounded Like. They showed projects that tease the users to learn how to interact with the interface and reflected on how technology has changed now video works better then all the key frames that one had to do back to the 90s. They also talked about how we now view content on some many different devices and the challenge of making projects work across all devices.

I later spoke with Robert Bader from UNIT 9 for some advice on my project. First I asked him if he thought interactive films on the web was a good idea. He said it depends on what you are trying to do  and if I was doing more than asking people to press play?

I told him that I wanted to included extra material that does not fit in the film and to create a frame work for the film to be shown. I dont think I am re-inventing the wheel but what I am doing is similar to making a DVD menu with extras and that the added advantage of being on the web gives me access to a broader audience and he agreed this was a good reason to experiment with the medium.

Another helpful idea was that he asked me also to think about the effects of people holding your film on a device and what that means physically to your project and what a smaller picture and potentially less sound quality might mean to the way the film is perceived on the web. I was also encouraged that some of their big projects are not aimed at all devices but just to work well on a browser and as I am working on this alone and with not much time I think that if it works on a browser I am happy with that for now with scope to adding hand held devices later.

Brendan Dawe's is a dynamic member of the information visualization community. His talk was fun and enageing. He aims for people to love or hate his work and thinks the worst thing is have no reaction. He has a passion for collecting things and that incudes data. I think the beauty in his work is the way he manages to add a narrative to his projects as he says "data by itself is not enough, data needs poetry". He shared his experiments and side projects which eventually seem to trickle into his contracts and paid commissions. He has a curious mind and likes to experiment. Some of his experiments included controlling video play back by manipulating playdoh (I am not sure if this was a joke!), building a machine which collects and prints tweets where people are tweeting about being happy, a small box which shows the weather in symbols and the iphone peg. I found him interesting because he works both in software and in hardware. Essentially in ideas and concrete things that you can hold in your hand.

He was able to show the path of his interests and how they feed his work. How he worked out the mathematics of the sunflower in an early experiment that later was used in his work with a telco in the UK as they launched the 3G network. This project collected tweeted data over a 3 day period and acted like a stamp in time. The data was represented in spiral shapes of the sunflower and useing colour to show the grouped themes such us when hurrican Sandy occurred or when Obama was visiting London.  It had an eerie effect as well by showing that while people tweeted about big events a day later no body talks about it. I am fascinated as how you can tell stories with data in a visual and creative way. I am not sure what it means for my work in editing and animation except that it is another way of visualizing story and meaning and I am attracted to the way these data visualisers show us another way of looking at the world. 

A common tips from serveral people including Brendan at the conference was making wire frames or sketching in grayscale. This helps to get to the essence of the composition or the work flow in interactive design and is also a great way to communicate to clients with out the distractions of colour or other details. 

Some of Brendans references included the legend title designer Saul Bass and also a scene from Vertigo where the characters are looking at a ancient 2000 yr old tree which had markers in it showing major historical events. He used Saul Bass as inspiration in visual design and the Vertigo clip as a intellectual idea about marking time and how this can be translated to collecting data from rss feeds and APIS on the net which gives you are snap shot of what is happening in the world at any given moment.

He began and ended his talk with his love for collecting music and sounds. Closing the talk by showing how he made a 3D print of the data of a Daft punk song. Why? because "it was fun, to see what would happen and because nobody would die".

Reflecting on listening to the company talks and visiting a animation studio I remembered how much I love collaborating and working in a creative space with other makers and how I would like this as a later goal having moved to Holland and closed my studio in Sydney. Reflecting on the animation festivals I have been to this year also makes it clear to me where my interests lie and where I feel I fit creatively in the Film and TV industry and that is as an editor/animator film maker within a strong leaning to the field of documentary.

sketching the inspiring La Pedrera designed by Catalan Antoni Gaudí

New transition

A few posts ago I was experimenting with masks and morphing in After Effects. It was useful to learn how to do it but in the end the look is not right for this film. One of the great aspects of making this project while at St Joost is the feedback you get from fellow students and lecturers. I showed my morph to a couple of people and they agreed it didn't quite fit the overal look of the film. A fellow student Jonas suggested a neat solution which I was keen to try out and I now think this is the way to go.

So now in fitting with the hand made lo-fi look of the film the Mothers hand acts as a whip to reveal her husband.

Hype

Further research and another meeting with Michel from St Joost to talk about Hype and I have decided to go with this software. I explained to Michel what I wanted to do with the flow charts posted in previous blogs and Michel confirmed for me Hype was an excellent choice. He reasoning being that very quickly he could teach me to use the program to make simple actions I wanted to preform with very little knowledge of website building and no code knowledge. So within half an hour using two short 30 second test movies and a jpeg file acting as a menu we were able to create two invisible buttons that directed the user to a each film which would play in the browser.

The program reminds me of DVD Studio pro so I could easily navigate around it and preform the steps needed to make this simple test. With options such as looping a movie or having it automatically play in the browser or jump to another menu I can see that very quickly I can make Hype do the basic steps I want it to do.

To move forward I will need a domain name and a hosting site to upload my files to. At this stage I will use the St Joost site to make tests before I launch the site and go live. But before all that happens I need to finish the film!

Some of the other customisable options I would like to add is to making my own loading icon. Tumlt lists in their forums how to do this. There is a nice link to a pre-loader icon maker called spin and a nice simple bit of code to add. So even know I am choosing this program because I can used it with out code I am still willing to do a bit of code dabbling to maximise the web experience.

Morphing in After effects

Today I am testing how to morph one photograph to another using after effects. This is for the part in the story where the Mother character imagines the photograph of the US army officer in the Sydney Tribune turning into her husband as she remembers him and misses him. I found a simple tutorial about morphing and have set myself 2 hours to experiment.

The photo I am testing with is not of an Australian officer but I like the pose very much so I will later transpose his head and uniform with another face to become my character.

UK Airforce officer from WWII

The photo I want to use as the image in the news paper that reminds the Mother of her husband is by a Dutch photographer  from whom I need to get copyright permission to use this photo also.

After a couple of hours I have a test morph. It looks a bit made by a computer at the moment so it will take some more brain storming to achieve the look I want but this was a good exercise to learn how to make a simple morph with After Effects using the replace mask shape effect and the opacity levels.

It felt a little strange to paste out the US solidier out of the photo considering the controversial nature of there involvement in the war and transpose him with a British man from the 2nd World War. I am very conscious of the real life people's stories I am working with when making this film and I really don't want to offend anyone with my creative interpretation of this real life document.

Animation test with sound

The last month has been spent mostly at the cintiq work station drawing and I can now say that I am one third through the film. Nearly all the scenes need some finessing and some of the backgrounds still need to be shot however I am pleased at the overall result. As the days disappear as I lean over my drawing station I realize I have been a bit quite on the blog of late so I thought it might be nice to post a little sneak preview of how the animation is shaping up.

Researching HTML5 to use as a platform builder

Today I am researching HTML5 and how it might be used to build a platform on the web for What Love Sounded Like. 

The main reason behind putting What Love Sounded Like on the web is to utilise a interactive platform that can expand the story further. Assets such as additional photographs and background information relating to the characters in the film which can give the audience/users a richer experience and highlight the documentary elements in the film.

Short film and possible assets

The above diagram shows the 4 components making up one episode of What Love Sounded Like. A short film has a beginning middle and end. An interactive platform brings new elements to story telling and raises questions as well as possibilities.

Questions like;

• will a story begin straight away or does the site require interaction to start

• how will the audience choose which episode

• can they click ahead to another story or other additional material

• how will I monitor and test audience participation to make sure my story architecture and structure is working at its best

possible website flow chart

After a story has finished playing or the film has been skipped a submenu appears. Below are two examples of how they might look. The audience is asked if they would like to know more about the author of the recording. In the case of 'Just The Two Of Us' the author is 'unknown' and in 'Please Hold The Line' the author is 'Howard'. The red arrows indicate how parts of the image will be animated.

possible sub-menu for Just The Two Of Us

possible sub-menu for Please Hold The Line

So now I have the basic asset ideas and structure. Which platform builder should I use? I have little experience of website building and no code writing knowledge so I will need a program that does all that for you. Website editors often have a WYSIWYG (What You See Is What You Get) function which is important to see what you are doing as you build. Which brings me to Hype. I am interested in Hype as it a WYSIWYG application that allows users to program events to occur in sequence or after user actions like mouse clicks and doesn't require code knowledge.

Here are some pros and cons:

Pros

• HTML5 by default
• Timeline features to animate the page
• browser checking support with problems highlighted when chosen
• no coding required
• user friendly
• affordable
• technical support from St Joost (Michel knows how to use it)
• free trial

Cons

• HTML is not 100% valid in all cases (although Hype website says it supports most devices) 
• No upload
• No forms, tables, or e-commerce
• no text editing

At this stage I think the pros out way the cons for Hype. First of all because I dont need to know code and I have experimented with the program and it seems something I could work with. I think HTML5 interactive abilities out weigh the fact that is not 100% used across all devices as it is more valid then Flash for example. I dont need ecommerce and while I first thought I would like to invite the audience to upload their found audio I think this could potentially become too much for me to manage on my own over the life of the project. The no text editing function is not ideal as I want to have a subtitle option however I think there might be another way to include text in the actual video as a work around for this. The user could also have the choice of turning the sub-titles off if I load a video asset with no text embedded.

Another no-code WYSIWYG web editor I am considering is Website painter. 

Pros

• clear instructions
• affordable
• drag and drop building
• supports e-commerce
• free trial

Cons

• traditional menu layout

The main con for me is the traditional menu layout. I am not sure I will be able to create the design I want by using this program but I will download a trail to experiment with.

Another no-code WYSIWYG web editor to look at is Freeway express.

Pros

• drag and drop building
• supports comments
• track visits with google analytics
• supports
• e-commerce
• free trial

Cons

• express doesn't support HMTL5 and full version is 3 times the price of Hype and Website painter.
• traditional menu layout (but may be more flexible compared to Website painter)

While there are a lot of website editors  to try it can take a lot of hours to work out the best one for what I am trying to do and I dont want to waste time trying programs that will not do the best job in the end or take too much time for me to learn. I think another meeting with an experienced user like Michel at St Joost will help me decide on the best no-code web editor now I have the assets and basic structure to work with.

Museum Next

Interesting and relevant talks are happening this week in Amsterdam at the Museum Next conference. I can't make it there but I will use the website to do some research on some of the speakers and the museums they represent.

www.museumnext.org/

One of the interesting talks in the schedule to look at which might have some resonance for my project :

Crowd Sourcing; The Story of Amsterdam

This presentation tells the story behind the Hart Amsterdam Museum community showing how the Amsterdam Museum connects the stories that are collected in the neighbourhood sites and story sites to exhibitions, on the web on the Hart Amsterdam Museum site and in the Museum.

Working on the Wacom Cintiq

This week I got the project set up on a wacom cintiq 24HD at St Joost. It is a great tool and makes animating and roto-scoping more comfortable. At the beginging of the week I counted I had 32 actual animating days left till the final product must be complete. At that rate I calculated I need to animate 3 and half seconds a day at the very least. That got me a little worried until I started working on the Wacom Cintiq this week. I have animated 44 seconds over 4 days which is a better result than expected. Although the scenes I am working on are simpler and with less detail. I expect the wide shots and the lip syncing scenes to slow me down to perhaps 2 seconds a day. However using TV Paint animated brushes and being smart about using loops might also save some time later on.

The above images are of roto-scoping on the Wacom with the reference material I shot with a friends very obliging 2 and half year old and my partner who is acting the main character for me.

I also go some feedback from lecturers at St Joost on the first scenes. I think feedback as I go along can bring me fresh perspective and help in the choices I make during animating. They liked the way the first scenes are taking shape and suggested more line drawing in the later car sequences to create a unified look. They also suggested to cut back on my layers for ease of use or worse a corrupt project!  So as a safety precaution I have reduced the project size and will now animate in shorter scenes and then edit them together when they are complete. Below is a video of all the layers used to make the first 44 seconds.

Using the moving story body (which is timed to the actual sound track) helps me know for sure I am only animating what I need and in sync with the sound. It gives me more confidence that story and edits work before I commit hours and hours to drawing. At this stage I have a pretty good idea how the first scene is working so next week I look forward to beginning the car sequences keeping in mind the notes from the feedback session.

Sydney back grounds

Over the last week I have been making the background animation sequences for the film. It has been fun to see the film come to life by working on the art direction of the apartment and the motion of the car. After a week of working on this stage I get a hint of the what the atmosphere of the film might become. I was lucky to find some great footage of Sydney from the perspective of the a car taken in Sydney in the 1960s. I contacted the publisher on youtube and was very grateful to get confirmation that I could use this footage. I am a little concerned about the low resolution and hopeful I can get a better resolution later but for now I am very happy with the texture and authenticity that the super 8 footage of Sydney brings to the film.

Visual story boards

Over the last week I have been developing the actual look of the film. I have settled on a combination of photography, hand line drawings on brown paper and solid colour shapes for the mini morris and the other cars in the film. I will be using a combination of TV-Paint, Photoshop, Final Cut Pro and After Effects.

Pre-titles design

I have spent the last week animating a pre-titles sequence to introduce the idea of audio letters in the context of What Love Sounded Like. This short 25 sec introduction will be a mult-purpose beginning to each episode that contains reel to reel recordings. I see each episode as having a different animation style but the films that share a particular sound recording device will have the same pre-titles sequence. I hope this will help gel the episodes together and also explain a little about the origon of the recordings themselves. This version is to serve as a pre-title for "Just The Two Of Us" (Letter to Col - working title)

Having just spent a week animating it. I am a little nervous about testing the film on an audience to see if it conveys the meaning I intended.

We will see.

New moving story board

After another session of script writing with Sytske and a review of the story board with both Maartin and Sytske I have made some changes. The film is now 50sec shorter and I also made some action changes. While these changes may be subtle I feed the film has a better flow and is tighter and more focused. It makes sense to make these changes at this stage. The tighter my story board the better I can be at planning and scheduling the animation over the next few months.

Moving Story Board

Over the last 2 weeks I have been busy creating a story board after a great 2 day workshop with Hisko Hulsing. Hisko encouraged us to get a quick sketch down in pencil so as to not slow the process down. It was satisfying to visualise the whole story and now to be able to sit back and assess what story choices need to be made now.

I also made some mood board sketches.  At the moment I think I am trying too many different visual styles. I may try just photography and brown paper instead. Still thinking on this.

and the writing begins...

This week I have been working on 2 synopsis's for the What Love Sounded Like project. I have settled on 2 different recordings. 'Letter To Col' (working title) is made by an unknown women in 1967 to her husband who is away at long stretches at a time in the Australian army and the other 'Please Hold The Line' recorded by Howard Smith a communication technician and family man who hand made record disc's to record onto in the 50's. I am in touch with Howards family and they have given me permission to use the recording. Sytste helped with dramatising the audio which I hope will give the films more emotional depth.

Letter To Col (working title):

A mother struggles with loneliness while her husband is away in the army. She has got something to ask him and needs courage to say what it is.

Please hold the Line:

A humorous film with themes of loneliness based on an actual international telephone call recorded in 1951.