lifesize armature (the fool) plans

With now having practiced the facial casting & movement of the life size armature I had a talk through how it will look on film with Andrew & Rob Jefferson. Rob suggested rather than trying to hide the fact entirely that there is a puppeteer we keep the puppeteer in shadow. Myself and Andrew agreed that this would fit the themes and narrative of the story;
ie personalities controlled (puppeteered) by a main personality, the stories themselves are metaphorically shadowy.
Andrew suggested that keying/feathering out the puppeteer in post might be an issue if it was shot in shadow or even the puppeteer in black clothing due to similar tones in light or clothing on the armature. To combat this I suggested we commandeer one of the morphsuit costumes and use their bright colours (as long as not green like the greenscreen!) as another keying out colour - on a seperate layer - in post production. This would mean we could key out the greenscreen on one layer, then key out or change the opacity of the puppeteer on another layer without any effect on each other or the armature.



Thinking about how the fools story would work with the armature, I couldn't see the armature working being shot in a party scene with lots of movement. I suggested instead that we film the armature, seated in a chair, in the initial interview room then the walls change into a background of moving images (Via Greenscreen), giving the effect of 'a story projected from the mind'.
This would allow us to visualise complicated actions and other characters without having to create several puppet armatures and spend too much time on one story.

A great inspiration & an example of a story being told through a room & scenery is the creative team of Attalah, Leon & Cocina's Luis & Lucia series.

Lucia:
http://www.youtube.com/watch?v=veMBIWv0ews&feature=channel

Luis: