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Making Flickering Light / Peeli Batti

As we start making the rounds of the film festival circuit, here’s a look back at our process and the journey of making Flickering Light / Peeli Batti.

Before we start a film, we always create a storyboard from the script. Here’s a look at our handwritten storyboard, highlighting what each scene might look like, the words that could go with a particular scene, and how the scene would take the story forward. 

Then we went about creating the sound track, for which we layered Jahnavi’s vocals with our friend Ajit Ranganath’s brilliant sitar piece, and other sounds and samples. 

The next step was to assemble the sets and try out different techniques and materials to bring the ideas to life.

When we started the film, we wanted to use sand extensively, like in this picture where you can see the bed through a screen of black sand. And although we did use sand in a lot of our scenes, we also used other materials to mimic the look of black sand, like black cloth and paper, this was simply because the stiffness of cloth and paper made them a little easier to work with.  

We also thought of using clay figures for the characters as seen in the pictures here, but we abandoned that approach in favour of the technique of pixilation (using real people as stop motion figures). This was exciting (and also a little scary), not only because we had never used this technique before, but also because we had decided to put ourselves in front of the camera as actors for the first time.

The sets were constructed using miniatures, plexiglass and dimmable lights layered with sand and butter paper. Finally, it was simply a matter of taking endless pictures – 24 for each second, with multiple takes for each scene. 

After all the shooting was completed, the pictures (shot with a canon camera, using Dragonframe) were strung together in using DaVinci Resolve, with editing and compositing taking up most of our remaining time. 

The entire process took us over two years, with long breaks in between. It was a rocky ride with major roadblocks along the way. Now the film is over and out of our hands; it feels like saying goodbye to a friend we have seen grow and come into their own, ready to move on to the next adventure.

Jhakki Ramdeen – 8 months on

It has been nearly 8 months since we started working on our latest short, Jhakki Ramdeen, a story set in an Indian prison. After all these months, and thousands of still photographs later, we are happy that we are now halfway through the film. A month in animation time is very little time indeed, so reaching halfway point was cause for celebration; and celebrate we did, with some strong Islay scotch.

x-sheet to map the scene
x-sheet to map the scene

A silhouette shot
A silhouette shot

Six hours of shooting, one pint of beer. Doesn't seem very fair.
Six hours of shooting, one pint of beer. Doesn’t seem very fair.

Our approach this time is a little different from The Sweetmeat Boy. The animation style is still stop-motion and everything is still completely handmade – but this time we have replaced upright sets with multiplane, layered backgrounds, and walking armature puppets with armature-less wet terracotta figures laid onto glass sheets over the backgrounds.

Sculpting

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While the multiplane downshooter approach has made things somewhat easier when it comes to creating sets, moving and animating figures on each plane has become far more complicated thanks to the terracotta clay, which is brittle when dry, and goopy when wet.

Terracotta sculpting, needs to be used in the shot immediately before it dries
Terracotta sculpting, needs to be used in the shot immediately before it dries

Down-shooting
Down-shooting

We are ready to begin shooting the second part of the film, where we will employ more traditional paper cut techniques. Pleased to be saying goodbye to the troublesome terracotta, we are looking forward to the less exasperating paper. Although the material (paper) is less of a challenge in this second part, hand-drawing sets and figures is a daunting prospect, considering neither of us has any training or experience in drawing. We estimate that it would take about 4 more months to complete primary filming, with music and post-production to follow. In the meantime, we will keep updating the blog to document the process.