Under the apple tree

This stop motion movie was an idea from Erik van Schaaik. With a limited budget the art was to tell this story with as little resources as possible. We made recordings with several takes to achieve the right way to add mist with depth. Product by Pedri Animation

1 Making the last checks on paper for the exact dimensions. 2 Giving the real set a tangible feel on a scale model. 3,4 The building of the church and the farm. 1 Many cups of coffee to plot out our plan of action where the camera and the animator need access to. 2,3 Sets begin to take shape.
1-4 The interior of the church and the bedroom of the priest. 1-3 After building the structures with the big elements we can continue with all the detailed decoration.
1-3 The chain saw of the priest, in one piece and broken. 1,2 The set drawn up in the studio. The set was built in a way that it can be taken apart in many ways to enable the animator to run the camera anywhere and everywhere on the set.
Solan & Ludwig 1,2,3

For the feature film ‘Solan & Ludwig go to the Moon’ I made an animatable prop that combined the shape of a copy machine, a lawnmower and a combine on caterpillars.

A complex model with a lot of moving elementswith lighting inside. At the same time it had to weigh as little as possible because it had to be possible to hang it up in the set. Product by Pedri Animation

1,2 A very detailed drawing from the art director with the instructions about which parts had to be movable. 1,2 The parts made of artificial wood are ready to be spray painted.
1,2 Ready to be assembled after the painting. The three rotating blades are connected so the animator can adjust them all at once with an Allen key. 1The end result. By taking off several cover plates the model can be rigged on all sides.
Hakkebakke in het dierenbos

A feature film in stop motion. An huge amount of exterior and interior sets with many, many props. Everything was designed to change sets and camera positions in the studio really quick. Product by Pedri Animation

 

1-4 All the furniture had to have the ‘feel’ of wood cuttings and every surface was cut by hand. 1 Because we needed many different camera positions we created a sort of chassis that could be taken apart easily. . 2-4 On this chassis we did the finishing of the sets and we could fixate the puppets in every desired spot.
1 The interior of the bakery. 1-3 We used real materials like small tree trunks to create an appearance as realistic as possible.
1 The interior from the house of Grandma Mouse. 1-4 A few animatable props.
Exapamples from other productions.

Every set and each prop have its own approach for building, so I always look for the right material with the end result in mind.

Product by Pedri Animation

1,2 1 In this simple beach set the choice was made for the real materials like wood, paper and sand. 3,4 2 For this car modeling foam was used. 1,2 With this coffeemaker the choice was made for artificial wood to make a smooth and tight finishing.

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Under the apple tree
1 Making the last checks on paper for the exact dimensions. 2 Giving the real set a tangible feel on a scale model. 3,4 The building of the church and the farm. 1 Many cups of coffee to plot out our plan of action where the camera and the animator need access to. 2,3 Sets begin to take shape.
1-4 The interior of the church and the bedroom of the priest. 1-3 After building the structures with the big elements we can continue with all the detailed decoration.
1-3 The chain saw of the priest, in one piece and broken. 1,2 The set drawn up in the studio. The set was built in a way that it can be taken apart in many ways to enable the animator to run the camera anywhere and everywhere on the set.
Solan & Ludwig 1,2,3
1,2 A very detailed drawing from the art director with the instructions about which parts had to be movable. 1,2 The parts made of artificial wood are ready to be spray painted.
1,2 Ready to be assembled after the painting. The three rotating blades are connected so the animator can adjust them all at once with an Allen key. 1The end result. By taking off several cover plates the model can be rigged on all sides.
Hakkebakke in het dierenbos
1-4 All the furniture had to have the ‘feel’ of wood cuttings and every surface was cut by hand. 1 Because we needed many different camera positions we created a sort of chassis that could be taken apart easily. . 2-4 On this chassis we did the finishing of the sets and we could fixate the puppets in every desired spot.
1 The interior of the bakery. 1-3 We used real materials like small tree trunks to create an appearance as realistic as possible.
1 The interior from the house of Grandma Mouse. 1-4 A few animatable props.
Exapamples from other productions.
1,2 1 In this simple beach set the choice was made for the real materials like wood, paper and sand. 3,4 2 For this car modeling foam was used. 1,2 With this coffeemaker the choice was made for artificial wood to make a smooth and tight finishing.
Under the apple tree
1 Making the last checks on paper for the exact dimensions. 2 Giving the real set a tangible feel on a scale model. 3,4 The building of the church and the farm. 1 Many cups of coffee to plot out our plan of action where the camera and the animator need access to. 2,3 Sets begin to take shape.
1-4 The interior of the church and the bedroom of the priest. 1-3 After building the structures with the big elements we can continue with all the detailed decoration.
1-3 The chain saw of the priest, in one piece and broken. 1,2 The set drawn up in the studio. The set was built in a way that it can be taken apart in many ways to enable the animator to run the camera anywhere and everywhere on the set.
Solan & Ludwig 1,2,3
1,2 A very detailed drawing from the art director with the instructions about which parts had to be movable. 1,2 The parts made of artificial wood are ready to be spray painted.
1,2 Ready to be assembled after the painting. The three rotating blades are connected so the animator can adjust them all at once with an Allen key. 1The end result. By taking off several cover plates the model can be rigged on all sides.
Hakkebakke in het dierenbos
1-4 All the furniture had to have the ‘feel’ of wood cuttings and every surface was cut by hand. 1 Because we needed many different camera positions we created a sort of chassis that could be taken apart easily. . 2-4 On this chassis we did the finishing of the sets and we could fixate the puppets in every desired spot.
1 The interior of the bakery. 1-3 We used real materials like small tree trunks to create an appearance as realistic as possible.
1 The interior from the house of Grandma Mouse. 1-4 A few animatable props.
Exapamples from other productions.
1,2 1 In this simple beach set the choice was made for the real materials like wood, paper and sand. 3,4 2 For this car modeling foam was used. 1,2 With this coffeemaker the choice was made for artificial wood to make a smooth and tight finishing.
Under the apple tree
1 Making the last checks on paper for the exact dimensions. 2 Giving the real set a tangible feel on a scale model. 3,4 The building of the church and the farm. 1 Many cups of coffee to plot out our plan of action where the camera and the animator need access to. 2,3 Sets begin to take shape.
1-4 The interior of the church and the bedroom of the priest. 1-3 After building the structures with the big elements we can continue with all the detailed decoration.
1-3 The chain saw of the priest, in one piece and broken. 1,2 The set drawn up in the studio. The set was built in a way that it can be taken apart in many ways to enable the animator to run the camera anywhere and everywhere on the set.
Solan & Ludwig 1,2,3
1,2 A very detailed drawing from the art director with the instructions about which parts had to be movable. 1,2 The parts made of artificial wood are ready to be spray painted.
1,2 Ready to be assembled after the painting. The three rotating blades are connected so the animator can adjust them all at once with an Allen key. 1The end result. By taking off several cover plates the model can be rigged on all sides.
Hakkebakke in het dierenbos
1-4 All the furniture had to have the ‘feel’ of wood cuttings and every surface was cut by hand. 1 Because we needed many different camera positions we created a sort of chassis that could be taken apart easily. . 2-4 On this chassis we did the finishing of the sets and we could fixate the puppets in every desired spot.
1 The interior of the bakery. 1-3 We used real materials like small tree trunks to create an appearance as realistic as possible.
1 The interior from the house of Grandma Mouse. 1-4 A few animatable props.
Exapamples from other productions.
1,2 1 In this simple beach set the choice was made for the real materials like wood, paper and sand. 3,4 2 For this car modeling foam was used. 1,2 With this coffeemaker the choice was made for artificial wood to make a smooth and tight finishing.
Under the apple tree
1 Making the last checks on paper for the exact dimensions. 2 Giving the real set a tangible feel on a scale model. 3,4 The building of the church and the farm. 1 Many cups of coffee to plot out our plan of action where the camera and the animator need access to. 2,3 Sets begin to take shape.
1-4 The interior of the church and the bedroom of the priest. 1-3 After building the structures with the big elements we can continue with all the detailed decoration.
1-3 The chain saw of the priest, in one piece and broken. 1,2 The set drawn up in the studio. The set was built in a way that it can be taken apart in many ways to enable the animator to run the camera anywhere and everywhere on the set.
Solan & Ludwig 1,2,3
1,2 A very detailed drawing from the art director with the instructions about which parts had to be movable. 1,2 The parts made of artificial wood are ready to be spray painted.
1,2 Ready to be assembled after the painting. The three rotating blades are connected so the animator can adjust them all at once with an Allen key. 1The end result. By taking off several cover plates the model can be rigged on all sides.
Hakkebakke in het dierenbos
1-4 All the furniture had to have the ‘feel’ of wood cuttings and every surface was cut by hand. 1 Because we needed many different camera positions we created a sort of chassis that could be taken apart easily. . 2-4 On this chassis we did the finishing of the sets and we could fixate the puppets in every desired spot.
1 The interior of the bakery. 1-3 We used real materials like small tree trunks to create an appearance as realistic as possible.
1 The interior from the house of Grandma Mouse. 1-4 A few animatable props.
Exapamples from other productions.
1,2 1 In this simple beach set the choice was made for the real materials like wood, paper and sand. 3,4 2 For this car modeling foam was used. 1,2 With this coffeemaker the choice was made for artificial wood to make a smooth and tight finishing.
Under the apple tree
1 Making the last checks on paper for the exact dimensions. 2 Giving the real set a tangible feel on a scale model. 3,4 The building of the church and the farm. 1 Many cups of coffee to plot out our plan of action where the camera and the animator need access to. 2,3 Sets begin to take shape.
1-4 The interior of the church and the bedroom of the priest. 1-3 After building the structures with the big elements we can continue with all the detailed decoration.
1-3 The chain saw of the priest, in one piece and broken. 1,2 The set drawn up in the studio. The set was built in a way that it can be taken apart in many ways to enable the animator to run the camera anywhere and everywhere on the set.
Solan & Ludwig 1,2,3
1,2 A very detailed drawing from the art director with the instructions about which parts had to be movable. 1,2 The parts made of artificial wood are ready to be spray painted.
1,2 Ready to be assembled after the painting. The three rotating blades are connected so the animator can adjust them all at once with an Allen key. 1The end result. By taking off several cover plates the model can be rigged on all sides.
Hakkebakke in het dierenbos
1-4 All the furniture had to have the ‘feel’ of wood cuttings and every surface was cut by hand. 1 Because we needed many different camera positions we created a sort of chassis that could be taken apart easily. . 2-4 On this chassis we did the finishing of the sets and we could fixate the puppets in every desired spot.
1 The interior of the bakery. 1-3 We used real materials like small tree trunks to create an appearance as realistic as possible.
1 The interior from the house of Grandma Mouse. 1-4 A few animatable props.
Exapamples from other productions.
1,2 1 In this simple beach set the choice was made for the real materials like wood, paper and sand. 3,4 2 For this car modeling foam was used. 1,2 With this coffeemaker the choice was made for artificial wood to make a smooth and tight finishing.