Nov 30 2014 1

Over a year after we had Brian Blessed and Alison Steadman into the recording studio, it was time to dust off the microphone and record the voices for the children. Up until now we had been using scratch tracks – a rough track as a placeholder until we were ready. We had been looking for the right voice for some time – someone who could perform all the children’s voices – and were extremely happy when we discovered Lizzie Waterworth’s audition tape.

Recording Lizzie Waterworth (14)

From left to right: Aaron Wood (producer), Katie Steed (co-director), Lizzie Waterworth, Jon Hunt (co-director)

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Nov 16 2014 0

As you saw in our last post about getting the sizes and proportions right, we have almost finished the 3D modelling of the children. These will go off for texturing now, but at the same time, we start to rig the models – which basically means giving them a skeleton – ready for when we start animating them. We then put the characters through rigorous testing – pulling their joints, arms, legs and body around to test for any abnormalities. As you can see below, there were quite a few issues – some subtle and some massive! We’ve highlighted some of them, but see if you can spot the issues on the other images…

James testing Clyde's rig (5)

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Nov 09 2014 0

With the bulk of our 3D environments and characters now built, and ahead of the texturing of the children, we had our first look at what the characters look like in their environment. As the children interact quite a lot with the surroundings (especially when they hide)  it was very important to ensure they were the correct size, or at least the correct proportion for that shot. We did this by placing them in some of the key places they needed to go, and next to each other to gauge their relation to one another, as you can see from the images below

05. Scaling the children (3)

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Nov 02 2014 0

While all the amazing work of building the 3D world goes on, it’s easy to get swept away in the craft of this work and forget that there are still many of facets of the film that need work – none as important as the story itself. Although we have been constantly working on the storyboard (revising it, adding new sections, removing sections), there has to come a time when you have to decide and lock the animatic. Co-directors Jon & Katie, myself and our editor Simon recently met for an intense day of locking as much of the animatic as we could…


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