PRODUCTION
The production of my film asked me to be very organized. My shotlist was very precise and I was following a very detailed shooting schedule. I did not want to leave anything to chance.
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During the shooting, one of my biggest challenges was to play with the light. Having no training in photography, I found it difficult to make a night light that was realistic and that allows the viewers to see correctly the action. Between each set change, it took me a long time to install my equipment and to do some tests. Still, many scenes are flickering.
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Another of my challenges was to make stable image sequences. I am the kind of person who clings to the tripod or who is so focused on my animation that I don’t realize that I am also moving my character's environment. Therefore, I had to be very careful! However, despite my efforts, we can notice a few shakes in some sequences.
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I also wanted to include camera movements in my film because I think it adds richness to sequences and depth to my images. To do this, I made a small dolly. I took good care to fix the right wheels and to add brakes. It was very useful!
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For maximum comfort and to avoid back pain, I also tinkered a table that arrives at the level of my chest.
The animation of the soul was done in 2D, with TVPaint and Photoshop. I decided to give it a lot of transparency to make it clear that the soul is not a physical. I did not want to leave it completely transparent or white, so I added some texture. It is a serie of lines that I have drawn with paint.
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For the flashbacks, I made drawings in painting because I find that it is a very expressive medium and that it can suggest a lot of movements even if it does not move. This is a nice way to work colours, lines and textures. At the beginning, I even thought to animate the brush strokes in the picture, but since it is very brief, I rather opted to keep a single image and add a slight zoom in to give it more importance.
