Le Pont

Vincent Bierrewaerts, France/Belgium, 2007, 14'

The bodies were made of light materials wood, sponges, latex, plastics. Metal was used for the articulation : articulated iron skeleton for the father, but aluminium wire for the kid (he was too small to make an articulated iron squeleton) (aluminium is the best metal for bending in animation : its light, easy to bend, it keep the position you give to it, and quite resistant to manipulation (do not break easily by bending it). To make them stand there was 2 technique used : bolded trough the table, or magnet under the table. I tried to be the most traditional in the approach of the animation, avoiding as far as possible all the easy computer solution. I tried to find solution that could have been possible in some way before the arrival of computers in animation

Melodia Amarga

Pedro Moura, Portugal, 2008, 10'30''

A distant relation between a couple of musicians inside the four walls of their home. The music is the only bond between them, but when finally comes the moment to bring them closer, it might be too late.

This film is special for me because it's my first one... It started with some illustrations of an interior of a house i made for college and the final result of these illustrations came out peculiar, pleasing and transmitted me something like a story evolving within those walls... When i showed to a cousin of mine he said "Why don't you think of an animated story for this?". And so i started "Bitter Melody"...

Cândido

Zepe (Jos Pedro Cavalheiro), Portugal, 2007, 11'20''

Candide never loved her. Manipulation is his favourite game.

Animatou

Claude Levet, Georges Schwizgebel, Dominique Delachaux-Lambert, Claude Barras, Romeo Andreani, Alexandre Lachavanne, Switzerland, 2007, 5'30"

A cat and mouse chase through five different animation techniques: drawing, painting, sand, volume and 3D.

Tony Mines and Tim Drage, UK, 2004, 3'49''

Tony Mines and Tim Drage, UK, 2004, 3'49''

Spiderman: The Peril of Doc Ock

Tony Mines and Tim Drage, UK, 2004

This popular viral was produced in 2004 for joint clients Sony, Marvel and Lego as part of the media onslaught surrounding the release of Spider-Man 2, and comes with two alternate endings. At time of release, the film held the top spot on iFilm, Atomfilm and Yahoo Movies simultaneously, with only our own Monty Python and the Holy Grail in Lego nudging it in second place.

Star Wars: The Han Solo Affair

Tony Mines and Tim Drage, UK, 2002, 2'45''

It is a time of crisis for the Rebel Alliance. On Cloud City, high above the planet Bespin, Han Solo has been captured by Darth Vader's imperial forces and frozen in carbonite. As bounty hunter Boba Fett prepares to deliver the pirate to Jabba the hutt, the rebel's hatch a desperate plan to save their friend...

Monty Python and the Holy Grail in Lego

Tony Mines and Tim Drage,UK, 2001, 1'36''

As the title suggests, this internet classic depicts the famous 'Camalot' dance number from 'Holy Grail, in lego.

ONE: A Space Odyssey

Tony Mines and Tim Drage, UK, 2001, 1'36''

This is Stanley Kubrick's seminal space epic, from beginning to end, condensed into exactly one minute.

We have produced a number of animated lego films, both for the LEGO company and of our own volition, through a sheer love of the brick. The attraction to making films in the lego world comes largely from the minifig, which is all at once a classic of modern design, an appealing character and a tool sturdy enough to withstand the rigours of animation.
We create our films using stop-motion animation, moving the physical models one frame at a time, and often in minuscule increments. For any stop-motion, you need a model that has character, but is also well articulated and that you can rely upon to both move cooperatively and hold its position. Lego is almost alone in the toy world, in offering all of these qualities together, thanks to the quality of its plastic. It also provides a wide range of hinges, pivots and other useful tools throughout its building system, all of which make it (quite circumstantially) the best and most accessible animation product for the home film maker.
Some of our older films were shot using a DV Camera attached to a computer, which then compiles each frame into a sequence. Today, like other stop-motion animators, we use a Digital Stills Camera attached to said computer, which offers better image quality. This is still an experimental field, with professionals exploring the best technology combinations, but the principle is simple and a home set up can be explored by anyone with a computer and a camera.
Tony Mines and Tim Drage

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