Rachel Smith

Final post (for now!) about my work on Michelle is Feeling Subpar @aub_michelleisfeelingsubpar The final scene of the film required an exterior set of New York to be built in order to complete the narrative and lead into the end credits. I was captivated by this concept from the moment I saw Aaliyah’s original animatic, and was determined to get it into the final film. I created drawings in Illustrator for laser cutting and made a ‘proof of concept’ in card during Preproduction. However, various issues we experienced during our film forced us to prioritise, and we came to a decision that of all the required shots, the exterior shot would be the one to be cut. Fortunately at the very end I managed to find a week to lock myself in a room and complete the set 😂 Our small budget and limited time required that I make the set entirely using corrugated card, acrylic paint and chalks. There were two layers of ‘3D’ buildings, and a series of flat planes to create the illusion of the New York skyline. Diffusion paper was glued behind the windows to soften the fairy lights used to light the buildings from inside. After I completed the set (hand painting every window frame took the longest time!), I helped Aaliyah set up the lighting before she edited the photos and created the zoom-out effect. I’d have loved nothing more than to have had more time to refine it, but I’m proud I made something that served the requirements of the shot. I’m so pleased that I managed to pull this set build off - it’s the main reason I wanted to be on Michelle, and per Aaliyah’s request we now have the set as a big lamp in our flat! @aaliyah.h_animation ❤️🤣

My favourite animation I did for Michelle is Feeling Subpar! @aub_michelleisfeelingsubpar I made this silicone salmon in 1:3 (B) scale. The rest of the film is 1:6 scale, but this larger scale was used for closeups (with Aaliyah’s incredible B scale hands!) 1. Video: the first clip is the animation; the second is how it turned out in the final film! Colour grading and editing by @aaliyah.h_animation , sound by @karynbrooksanimation , second animation by @emmamackenziemodelmaking 2. Sculpting process 3. Laying up process 4. 2-part mould making (jesmonite) 5. Silicone casting 6. Refining the cast 7. Final result of cast 8. Animation plan (Procreate) 9. Animation process 10. Animation setup! 11. Stills This involved a sculpting, moulding and casting process. I refined the surface finish of the silicone cast and made a chopping board and knife that matched the 1:6 scale versions, before carrying out animation tests and the final animation. @aaliyah.h_animation and @karynbrooksanimation guided me through the process of making my first cast - thank you.

Salmon fillets and filleted salmon! 🐟😂 A couple of smaller food props I made for @aub_michelleisfeelingsubpar . Salmon fillets were made of Chlorosil silicone (salmon pigment achieved using flocking and makeup powder, salmon skin gradient was mica powder). I applied what I had learned from @sarah_bo_silicone in her brilliant workshop - thanks so much for answering all my questions! I left two of the fillets as they were, and I ‘burned’ the other two using black mica powder and a scalpel. Silicone worked well for the visceral feeling Aaliyah @aaliyah.h_animation envisioned for the food. Filleted salmon made from Sculpey and painted with gouache; board made from MDF (cut with bandsaw, scored and painted). Michelle fillets a salmon during the film, and so in all the shots after, the remains of the salmon needed to be visible in the background. It’s one of those details you don’t notice as a viewer, but it was essential for continuity! The animations above are by @karynbrooksanimation and @emmamackenziemodelmaking !

Here is a sample of the work I did as Producer for our graduate film, Michelle is Feeling Subpar. @aub_michelleisfeelingsubpar 1. Mock-up of kitchen set for our first Film Review as a proof of concept - wall unit and kitchen measurements by @emmamackenziemodelmaking , Michelle maquette by @aaliyah.h_animation , kitchen mock-up by me in cardboard or laser cut acrylic. 2. ‘Production Bible’ used as a handbook by team and contributors. Colour guide by me in Procreate. 3. Workbook, setting out every shot, number of frames and lighting changes in the film in order, using screenshots from the animatic by the incredibly talented @angeemation . This forced me to tackle very difficult problems as our film has many cuts and lighting changes. The workbook was used when setting up shots, as the camera view could be compared with Angee’s animatic frames easily. 4. Making List and Budget - I made a list of every single prop, puppet and set element we needed to make for the film (well over 100 items!) which we successfully completed! I also needed to order/ purchase materials with a budget of £250 - I kept track of when we ran out of items e.g. silicone and forward planned to ensure they arrived before they were needed. 5. Lighting Floor Plan - I planned for the lighting setup three separate sets with no prior experience of shooting a stop-motion film, and updated our plan when we discovered that we could have two shots animated simultaneously. I also did risk assessments of potential hazards. 6. Scheduling - planning for a team of 5+ people over eight months. This was a daunting role for me to step into at the request of our director, @aaliyah.h_animation , and production for stop-motion presents a unique challenge. Every element (set, props, puppets) must be designed, then physically built, before a frame is shot. I had to plan around unexpected delays in delivery, wait for sets to be finished, adapt to puppet repairs, and allow time for lighting and camera setup. However, agreeing to be Producer was the best decision I’ve ever made - I learned so much in such a short time, I made friends for life, and I’m so proud of our film.

Early concept work for Michelle is Feeling Subpar! @aub_michelleisfeelingsubpar During Preproduction, I did a lot of concept drawings for the film to help us move towards decisions on lighting, set design and character. 1. I completed this 600mm x 410mm piece for our first Film Review using gouache and chalks. I based the painting on technical drawings by @emmamackenziemodelmaking . While I can see much to improve in my perspective work, this was a useful piece. It not only helped us to determine the art direction and level of stylisation, but as Producer, I needed all of the set elements to be decided by December 2024 to allow me to create the Making List. We provided it as a reference to modelmakers and it allowed us to easily show the technicians our intentions for the lighting. 2 and 3. Final sets for the film! Corridor by @emmamackenziemodelmaking . Set construction, bricks, boxes and set dressing by @emmamackenziemodelmaking . Kitchen furniture by Ben Walton. Sofa and coffee table by @rachelhemmingxart . Recipe books by @beverley_art ! 4 and 5. Early options for lighting and the corridor - we didn’t know which direction to go with the corridor for a long time! 6. Early character work, exploring Michelle’s obsessive tendencies, different styles for the characters (including Aaliyah’s main stylistic inspiration, @rednosestudio ) and a design for the inside of the fridge (which was cut). Final character design and puppet was by our brilliant director Aaliyah @aaliyah.h_animation ! 7. Though Karyn @karynbrooksanimation took the lead on the development of Nelly’s design, I wanted to explore early story changes the team had discussed - namely, the later removed addition of Nelly baking a cake. I wanted to incorporate this into her design. I found images of desserts and made collages to provide inspiration. These were my favourite five ideas from this brainstorming exercise. 8. Production Still - the first properly lit shot ever! Set built by @emmamackenziemodelmaking , noticeboard and Michelle puppet by @aaliyah.h_animation , cinematography by @angeemation , @aaliyah.h_animation Michelle’s costume by me, Nelly by @karynbrooksanimation ❤️❤️❤️

Some more prop stuff for @aub_michelleisfeelingsubpar ! 1. A sheet of prop drawings I made as a guide for modelmakers we hired. The intention of the prop design was to convey Michelle’s inability to adjust. Furniture built into the apartment uses straight lines, while Michelle’s possessions are asymmetrical and top-heavy. The radiator tapers slightly to create a visual transition from the ‘wonky’ furniture to the symmetrical lines of the kitchen. 2. How the props turned out! Pots and pans, noticeboard and pinboard by @aaliyah.h_animation , radiator and lamp by me, and sofa and coffee table by the amazing @rachelhemmingxart <3 3. Early concept drawings by me of sleepy Michelle - the final sofa has a dip to indicate where she sleeps. 4. Drawings provided to @rachelhemmingxart (measurements by @emmamackenziemodelmaking ). Michelle is work-obsessed, socially awkward and neglectful of her own comfort. I created these designs to reflect these traits. The broken coffee table and beaten-up, secondhand sofa signify her lack of engagement with life outside of her work obsession. 5. How @rachelhemmingxart ‘s 1:6 scale sofa and coffee table appeared in the final film! Thank you so much for these beautiful models❤️❤️❤️ (Additional dressing by @aaliyah.h_animation )

Here are photos and process pictures of my 1:6 scale radiator, my favourite prop I made for @aub_michelleisfeelingsubpar ! This was originally going to be a sculpted piece. However after drawing the radiator for a prop sheet I made, I realised that the uniformity of the components would make laser cutting a more efficient solution. I came up with a plan and drew the pieces in Adobe Illustrator, before laser cutting in 3mm acrylic. Washers were glued together and used to form the illusion of pipes; I also used wire to create the ridge around each piece. After assembling the main build on two dowels, I made the pipe, primed the prop with gesso and spray painted it, before adding rust and weathering using washes of paint. There are definitely areas for refinement with my gluing and finishing, but I’m proud of this prop as an example of problem-solving under heavy time constraints. Though it appears for a short time in the final film, it was an important detail to sell the industrial aesthetic of Michelle’s apartment.

Props and animations for @aub_michelleisfeelingsubpar ! As Producer of this film I had to track the making process of every item in the set. It’s with great pride that I can say that we completed making every required prop, owing to the hard work of our team and many contributors who were invaluable to the production. I created many of the smaller props that populated the set alongside my other roles. This included shelving (design, measurements and dressing by @emmamackenziemodelmaking ), kitchen utensils, knives and knife blocks in two different scales, and a lamp. I also had to find a way to animate effects like water (KY jelly and clingfilm!) 1. The first two clips were animated by me; the other two by @aaliyah.h_animation and @angeemation ! I’m posting them to show how my props were used for animation. Still never getting over Aaliyah’s onions 😍😍 2. Examples of props I made for Michelle. 3. Process of making kitchen utensils, using laser cutting, a heat gun and spray paint. 4. Process of knives and knife blocks. 5. Lamp made from balsa wood, fabric and diffusion paper for establishing shot. Michelle needs to unpack 💔 6. Shelving made using laser cut acrylic and dowels. 7 and 8 are just beautiful shots! Cinematography by @angeemation @aaliyah.h_animation , Nelly by @karynbrooksanimation I’m eager to learn how to make these props again with more time on my side; however I’m pleased that I was able to ensure we checked off our never-ending making list with my contributions 😊

My process of making a miniature chef whites costume for our grad film, @aub_michelleisfeelingsubpar , featuring a clip by the amazingly talented @angeemation showing how it moves! This was a very difficult process due to our tight time constraints and my lack of experience with miniature costume (and also finding out that first pair of trousers had been accidentally thrown away 😂) but I am happy that I managed to create a costume that functioned for the needs of our film. Michelle’s armature joints could be accessed through the seams of the costume and the decision we made to paint it meant that it could be touched up during the course of shooting. Overall this really pushed me to develop my skills in miniature costume making and I’m very excited to continue my learning. I learned so much from the clear and comprehensive miniature costume workshop delivered by Amanda Thomas @amandathomas_creative and did my best to apply her techniques when making Michelle’s clothing. Thank you for your teaching and for answering my many questions ❤️

Rounding off the Seoul posts with some of my sketchbook pages from my time there. Time flies😱

Snippets from my Fashion Design course work at Hongik University (March-June 2024). The brief was ‘The Tribe Project’ - combining the work of a designer (Charles Frederick Worth) with a chosen ‘tribe’ (I focused on androgynous music icons of the 70s) in order to design a lineup of designs and make a final garment. This class was extremely challenging but rewarding; I had to teach myself to not only sew but to use collages and swatches to present my sketchbook work and moodboards. I also used digital collage to help me with the design process. Though I have much to improve in my sewing skills, I am glad I had the opportunity to understand the process of fashion design, which has always fascinated me. My prevailing memory is of spending hours in Dongdaemun Market looking at fabrics 😂

Never posted this - a short film made as part of my Storytelling Based Design class during my exchange at Hongik University, Seoul (April 2024). The brief was to make a short animation based on a sentence - mine was ‘a late bloomer is just as lovely’. I used a combination of cutouts and drawn animation in Procreate to complete the film within two weeks alongside my other classes. While the clip could definitely benefit from refinement, it’s nice to look back on it as a reminder of how I’ve worked to overcome self-doubt and anxiety, and of the value of the bonds we have in our lives.