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‘S|T|R|A|Y|S’ was digitally filmed live-action, on location in London, with a small but professional, traditionally structured crew. Using modified cameras and an alternative lighting system developed by Miller and the film’s Director of Photography, Chris Haggan, the film was shot in eighteen days.

The alternative filming process allowed for far more flexibility than a normal location shoot. Microphone booms, crew members and equipment could all be in the shots during takes, in order to achieve the best possible lighting and recording of dialogue.

‘S|T|R|A|Y|S’ was digitally filmed live-action, on location in London, with a small but professional, traditionally structured crew. Using modified cameras and an alternative lighting system developed by Miller and the film’s Director of Photography, Chris Haggan, the film was shot in eighteen days.

The alternative filming process allowed for far more flexibility than a normal location shoot. Microphone booms, crew members and equipment could all be in the shots during takes, in order to achieve the best possible lighting and recording of dialogue.

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P-2-Edit-m

The editorial workflow was also unusual. Whilst the film was being edited for performance, scene structure and timing, it also had to accommodate a vast array of elements not in the raw frame. Continuity props, physical text dialogue and other missing elements all had to be annotated on screen for timing, as part of the rotoscoping/animation process.

The labour intensive nature of the rotoscoping process demanded that the edit was as close to ‘locked’ as possible before beginning the drawing and animation phase of post-production, in order to avoid producing ‘wasted’ frames.

The editorial workflow was also unusual. Whilst the film was being edited for performance, scene structure and timing, it also had to accommodate a vast array of elements not in the raw frame. Continuity props, physical text dialogue and other missing elements all had to be annotated on screen for timing, as part of the rotoscoping/animation process.

The labour intensive nature of the rotoscoping process demanded that the edit was as close to ‘locked’ as possible before beginning the drawing and animation phase of post-production, in order to avoid producing ‘wasted’ frames.

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The unique aesthetic of ‘S|T|R|A|Y|S’ treads a fine line between live action and animation. It was developed by the film’s director, Barnaby Miller. Using customised hardware, a unique workflow and a myriad of different software, Miller undertook the momentous task of digitally drawing over the top of every frame.

The challenges of post-production were not limited to the sheer volume of work, producing 122,374 still frames, but also animating props and backgrounds, maintaining a natural motion and retaining all the nuances of the cast’s performances.

The unique aesthetic of ‘S|T|R|A|Y|S’ treads a fine line between live action and animation. It was developed by the film’s director, Barnaby Miller. Using customised hardware, a unique workflow and a myriad of different software, Miller undertook the momentous task of digitally drawing over the top of every frame.

The challenges of post-production were not limited to the sheer volume of work, producing 122,374 still frames, but also animating props and backgrounds, maintaining a natural motion and retaining all the nuances of the cast’s performances.

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The alternative workflow, where each shot has over two hundred layers of material, required Miller to perform all colour correction himself, using additional custom calibrated equipment.

The resulting colour corrected footage was then delivered to Goldcrest Post Production for a final two day session of quality control and specific element corrections by the film’s Colourist, Lee Clappison.

The alternative workflow, where each shot has over two hundred layers of material, required Miller to perform all colour correction himself, using additional custom calibrated equipment.

The resulting colour corrected footage was then delivered to Goldcrest Post Production for a final two day session of quality control and specific element corrections by the film’s Colourist, Lee Clappison.

P-5-Score
P-5-Score

The score, composed, produced and performed entirely by Christoph Bauschinger, blends electronic, synth, guitar and piano. His unique approach to leitmotif, which emphasises theme rather than character, also avoided heavy use of percussion that would clash with the sound design elements.

Complementing the rotoscoped aesthetic, the continuous score blurs the boundaries between the film world and traditional accompaniment. Specific moments and actions are often highlighted through musical phrases rather than traditional sound effects.

The score, composed, produced and performed entirely by Christoph Bauschinger, blends electronic, synth, guitar and piano. His unique approach to leitmotif, which emphasises theme rather than character, also avoided heavy use of percussion that would clash with the sound design elements.

Complementing the rotoscoped aesthetic, the continuous score blurs the boundaries between the film world and traditional accompaniment. Specific moments and actions are often highlighted through musical phrases rather than traditional sound effects.

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The percussive dialogue of the film is timed and structured to replicate the syllabic delivery and intonation of the cast’s original performances. Jamie Roden, the Sound Designer, shaped both the percussive and on-set dialogue to flow seamlessly, tricking the audience into subconsciously ‘hearing’ dialogue that isn’t there.

In keeping with the film’s unique look, feel and score, traditional techniques of Foley work and ADR were rejected, instead using percussive elements to signify specific moments of on-screen action.

The percussive dialogue of the film is timed and structured to replicate the syllabic delivery and intonation of the cast’s original performances. Jamie Roden, the Sound Designer, shaped both the percussive and on-set dialogue to flow seamlessly, tricking the audience into subconsciously ‘hearing’ dialogue that isn’t there.

In keeping with the film’s unique look, feel and score, traditional techniques of Foley work and ADR were rejected, instead using percussive elements to signify specific moments of on-screen action.