After the story stage was finished (boards drawn up, leica reel timed out), it was time to move on to colour-planning and set-maken. I started with a colour palette:
Not all these colours were used in the final film - it was fairly monochromatically blue with a few intentional pops of colour - but it served a guideline for the colour choices that I made throughout the fabrication stage.
Next up were colour keys for major scenes. I broke up colours into a few different segments: the story takes place over the course of a sunny, wintry day, and each time the video cuts back from the chorus kaleidoscope segment it's to a slightly later hour and period of light. Breaking up the colours this way was also helpful when it came to lighting scenes - I knew roughly what I was aiming for concerning segments of scenes, and how gradual or stark to make those lighting differences. In some cases I pushed it more during the actual shoot - the yellow sky backdrop comes in earlier than initially laid out in the colour keys, and the final scenes are lit darker than in their depiction here.
Some early set-up tests - playing with the rig, figuring out sizes for hills and vales and fences in comparison to the puppet's scale, and how much room I had for panning abilities, with keeping the size and edges of the sky (a handy bed-sheet) in consideration.
Set-pieces, gettin' the beauty treatment. Salt!
Cardboard tree backgrounds, referenced from the earlier maquette style exploration.
Finished set-pieces, fences, telephones, church - more on the church next time!