It's not entirely uncommon for me to work during the evenings at Weddingstar when everyone else has gone home. With Stream Media in the mix, my schedule often requires a certain amount of flexibility between both jobs and sometimes there just aren't enough hours in the day. Truth be told, I don't mind the peace and quiet when I'm trying to film something or shoot a bunch of pictures and the late nights in the studio are actually a welcome change of pace.
I suppose what really solidified this behavior was my routine for getting projects done in film school. Living in residence on campus it was easy to hang out in the film department after hours when using the schools equipment. Even later into my final years in uni when I had all of my own equipment, I found editing was best done in the middle of the night because it was so much easier to focus without all of the distractions going on during the day. I've always found it a luxury to approach projects with a solid block of time too, and evenings generally provide that.
I'm proud of the niche I've carved out for myself here too. The entire studio is a result of the company growing and me stepping in at the right time to help shape the photography and video that we use on our website. It's easy to draw a line between what I was doing in school and a lot of the projects I produce individually now. Maybe it's not so surprising that I'm still addicted to the late nights than either. Old habits die hard.
In a continuation of the old film school projects I've been rediscovering since purchasing my Revere projector, this is the first of three animation tests I created in 2004 in Film 203. What we did was create small hand drawn flipbooks, and then captured the books one page at a time with a Bolex camera to share them with the class.
This film strip was a bit rough and unfortunately the flicker on from the projector was particularly heavy on this test. Still, it was an interesting experiment. I drew a washing machine exploding in suds. Each of these shorts were stand alone exercises, but the tricks we learned along the way did play a large role in the final projects each of us had to make for the class.
In tribute to some of the finest animations ever created, Wonchan Lee took it upon himself to design a series of minimalist posters each highlighting a Pixar film with a single, but instantly recognizable, graphic. These feel reminiscent of the minimalist Oscar movie posters I shared last year. See more of Lee's Pixar posters here.
