Unkraut
English title: Weeds
- Studio
- Art College of Kassel
Synopsis
The destruction of nature by man seen through the eyes of a snail.
Characters
St
Credits
Directing
- Director
- Thomas Stellmach
Producing
- Producer
- Thomas Stellmach
Writing
- Writer
- Thomas Stellmach
Animation
Music
- Music
- Edgar Knecht
Editing
- Editor
- Behzad Beheshtipour
Crew
- Camera Operator
- Thomas Stellmach
- Coloring
- Andy Huber, Thomas Loose, Diana Mueller, Monika Stellmach, Grandma Stellmach, Eiko Utz
- Music
- Edgar Knecht
- Technical Support
- Kazimierz Bendkowski, Norbert Hobrecht, Peter Lemken, Siegfried Wolf, H.P. Weinzierl
- Consultant
- Paul Driessen, Art College Of Kassel
- Sound
- Thomas Stellmach
Production notes
During the second semester Thomas Stellmach developed the story of UNKRAUT. He animated, directed and produced the five minute cartoon film with cells, paint and an animation camera.
At some scenes he used rotoscopy. For a realistic movement Stellmach filmed real construction machines with a paver and traced its contours on paper. After colouring with gray paint it became a cold stony tune. For one shot he also build a little set of the meadow, shot it with its rotation and drew its outlines on paper.
In the whole Stellmach animated the snail and the meadow by hand to accentuate the peaceful and enjoyable world of the snail.
To get a three-dimensional effect the director constructed movable multi-plane layers, like Disney, to achieve an image depth by unfocused elements. For some shots there were nine cranks to wind frame by frame to simulate a move of the camera (see excerpt) or the clouds. The shooting of the 4500 hand - coloured cells took four weeks. Six sound tracks were mixed together with the music of Edgar Knecht.
At some scenes he used rotoscopy. For a realistic movement Stellmach filmed real construction machines with a paver and traced its contours on paper. After colouring with gray paint it became a cold stony tune. For one shot he also build a little set of the meadow, shot it with its rotation and drew its outlines on paper.
In the whole Stellmach animated the snail and the meadow by hand to accentuate the peaceful and enjoyable world of the snail.
To get a three-dimensional effect the director constructed movable multi-plane layers, like Disney, to achieve an image depth by unfocused elements. For some shots there were nine cranks to wind frame by frame to simulate a move of the camera (see excerpt) or the clouds. The shooting of the 4500 hand - coloured cells took four weeks. Six sound tracks were mixed together with the music of Edgar Knecht.