Assembling the BiM Collection has been a daunting task, and waiting on filmmakers to finish and send in their content has led to some delays. However, the BiM Collection is in the final stages of being assembled, and we now expect to ship in April. Thank you for your patience!
Documentary producer Doug Vandegrift has overseen the BiM Collection and, instead of the planned 2 hours of content, has put much more into the collection -- approximately 4 hours of brickfilms, not including the director commentaries included with many of the films! It has been a phenomenal amount of work to assemble all these films in various, often antiquated formats and resolutions into a unified collection but we couldn't be more happy with the work Doug is doing on the project.
As promised, Dylan Woodley and Philip Heinrich have created new short films just for the collection, titled Moon and Puffindolia, respectively. This is the first brickfilm Philip has animated in three years.
Nathan Wells' instructions for the custom sets included in some reward tiers are also well underway. Our plan is to ship all physical rewards at the same time.
As we announced in the previous update, the live action portion of filming for the documentary is complete. A new assistant editor, Seán Willis, has joined the team in order to help us more effectively organize and process all 60something hours of interview footage.
Thank you again for your support, and for reading! As always, check out our Facebook and Twitter pages for other Bricks in Motion-related updated.
We are preparing to film in Europe, shooting additional interviews with Chis Salt, Maxime Marion, Steffen Troeger, and the Spite Your Face team, Tim Drage and Tony Mines. This second phase of filming will begin in early February.
One part of preparing for Europe has been streamlining the process as much as possible. In order to get the most authentic experience possible in the film, we're filming in the homes and studio spaces of the people we interview. For long interviews in these kinds of spaces, we wanted to use lights that wouldn't get too hot, so we've relied on fluorescent lighting via household CFL bulbs. In the North American portion of production, we shot almost entirely with standard 13 watt compact fluorescent bulbs. The camera was fitted with a speed booster and Helios 44-2 58mm f/2.0 lens, resulting in approximately f/1.0 worth of light hitting the sensor.
With the combined efforts of cinematographers Michael Macasa and Philip Heinrich and some occasionally creative rigging, we've been able to achieve a result we're pleased with, some of which may be seen in the recent teaser trailer. Some things worked well in North America, and others are being revised for Europe. The challenge is find solutions that we can travel with, set up quickly enough, and still achieve quality results. It's been a different experience from conventional narrative cinematography, where you can generally bring in as much equipment and lighting as you like!
In order to enrich the visual scope of this documentary, we've taken time to capture footage of the diverse regions the people in this film live in.
One visual concept we're exploring is the use of tilt-shift style post effects on the landscape shots, in order to parallel the miniature nature of the films these animators make. We're shooting this footage traditionally, however, to allow for flexibility in post-production.
The film is being mastered in 2k resolution (typical for theatrical projection) at a 2:1 aspect ratio. The 2:1 ratio is not as common as 1.85:1 or 2.35:1, but it is a ratio that has existed in Hollywood for decades (and has recently seen a resurgence with House of Cards) and which seems well-suited to our project, which contains a blend of large-scale landscape visuals and talking heads. The decision was made on the basis that 1.85:1 did not compliment most of our b-roll and interview extreme closeups as nicely as a wider ratio does, but 2.35:1 was too wide for most of the film's interview footage.
We already have filmed 41 hours of interviews shot in North America, including some people featured in the trailer and in previous updates, as well as several others.
Here's a still from the end of the first day of filming, at Garrett Barati's studio, in which we all attempt to politely mask how tired we are for the camera:
Thank you for your continued support of this project! We're hard at work on the Kickstarter rewards, and we'll continue to provide updates as the rewards and the film move along.
We've completed a preliminary teaser trailer for the documentary. While the process of editing the 50+ hours of footage filmed so far is still in early stages, this video gives a short peek at some of what is to come.
For more updates on the film's progress, keep checking back on Kickstarter, or at BricksInMotion.com and our Twitter page. Thank you again to everyone who has made this project possible by supporting us!