We are Daisy Jacobs and Chris Wilder, an animated film-making team from London, we make life size animations which play on the ideas of a 2D and 3D world existing side by side.
Our last film was titled 'The Bigger Picture' and told the story of two brothers, Richard and Nick, struggling with the care of their elderly mother. It was a stark and darkly humorous take on the question 'what do we do with our parents?'
The film was released in May of 2014 and has been very popular with festivals, some of which have been kind enough to give us prizes.
Here is the trailer for 'The Bigger Picture' and a 'making-of' video to give you an idea of the production process.
So we have decided to make another film. Again with life-size sets and painted characters, but this time with the boundaries between the 2D and the 3D world explored further and twisted in brand new directions.
The story will once again focus on the dynamics of a family, a darkly humorous study of how we treat those closest to us.
However the last film we made was fully funded by the National Film and Television School, they provided camera and lighting equipment, set building materials, computer software and most importantly a large space to build and shoot it all in.
This time around we have none of those things. Here is the studio we previously worked in, it was enormous.
Our method of working is extremely time consuming; each set has to be constructed, painted, and have the characters painted on before animating can even begin.
Our previous film was 7 minutes long and took 6 months to animate, 6 days a week, 12 hours a day. So renting a studio for that amount of time this time round is going to be where the majority of our budget is used.
We also need money for equipment transportation, paint supplies, an obscene amount of masking tape, and many other things that contribute to bringing this project together.
We realise that we're asking for a lot, but we believe that in order to continue making films of this nature, films that push boundaries both in technique and our own physical endurance, we need to step it up.
We are offering many of the one of a kind props used in both 'The Bigger Picture' and our Kickstarter video.
We will also be offering original animation frames from Daisy's previous films Don Justino De Neve and Tosh.
The technique is achieved by mixing the mediums of paint and paper mache. Daisy designs the environments as 2D illustrations which we then strive to adapt to a real life space, being as true to the original design as possible, hopefully the end effect being of a full scale 3D painting.
3D elements are attached to the wall with staples, glue, tape and anything else that might hold them whilst being blended with paint to look like part of the 2D artwork.
Many of the props that come into contact with the characters have to be re-created in paper mache due to them being originally too heavy to hold in the air long enough for the shot to be taken.
Don Justino is a fascinating swine; beautiful, but rotten inside. He sips tea in his Brutalist tower-block, and morphs continually - romantic hero, (dropping the heroine) Bond... Panning into the teacup, a naked woman collapses and hysterical women scream. Undressing, he teems with weevils and kicks his dog savagely off-screen.
Daisy made this film at Central Saint Martin's School of Art and Design, taking inspiration from a portrait painting of the same name.
Drinks are raised, guns are fired, women ogled and horses straddled, before we are spat out into the gutter in this satirical attack on elitism and privilege.
Risks and challenges
The amount of challenges ahead of us is somewhat limitless. Sets can be delayed in their preparation, electrical equipment can fail, props can start to warp under the heat of the lighting, there really are a horrible number of odds.
On the last film we were doing a tracking shot through a window on which cling-film rain was being animated, past a real working television and into a living room, we were about 5 hours into the process when the television spluttered and died, not to be revived. We had to then switch out the television for a new one and start the whole process again.
In another set up we had decided to place a scene by an ironing board full of linen, not realising that any cloth or material would drastically sink over the next 4 days of filming, making the whole scene look as if it was melting. As a result we had to spend an extra 3 days covering the whole set in glue, returning each morning to see if the shot matched the previous evening's.
There always seems to be some new and exciting way for something to go terribly wrong. But i'm proud to say that we've become rather adept at this. We almost expect things to take a turn for the worse, and when they do we're ready. We plan ahead, we add time buffers, we take deep breaths and look for new ways to pull ourselves out of what often could be catastrophe.Learn about accountability on Kickstarter