Preparation - Stop Motion: Passion, Process and Performance - page 177

Barbara Biddulph's atmospheric artwork for the title card for the pilot of Rigoletto .
A typical day commences at 9.30 am.
Call on the walkie-talkie. 'Mud' is needed on the set. We use Plasticine to create this. It must be warmed
(in the microwave if necessary), applied to the set in sheets and smoothed with lighter fuel. Also need to
move a couple of shrubs to hide a gap on the set.
Remove a lighthouse lens from a set. It has been 'broken' in the story. So I've cut it into pieces on the
band saw. Then 'rust up' the metalwork around it, using sawdust and PVA, with paint to fi nish.
Discuss the design of a proposed set with the animation director, as to how we can exaggerate scale by
using different shooting techniques. Will use this information to design and build a maquette of the set
before it goes to the set-makers. The maquette can be seen by the camera/lighting department too, if
there are any queries about access, etc.
Present a fi nished logo design that will be painted onto the lighthouse and costume. This is the fi nal of
several ideas that I have gone through.
Have a break. Catch up with my e-mails.
Print off the fi rst treatment of a future extended episode. This is a mini version of a storyline; I'll read
it and give any thoughts to the scriptwriters. This can cover building techniques, sequence of building,
information on materials and tools that may be used or bits of information the characters can say to
enhance the story.
Reorganise a schedule to give us more time to make trees for a set, which is a bit thin at the moment.