Winner of 'Most Original Animation' at the UEL Film Showcase!

cartoons at midnight (password - cartoons)

making of

I began developing the concept for Cartoons at Midnight in the summer of 2018. Borne of an idea that watching these shows had impacted my life in a multitude of ways, I set out to find other people with the same experience!

It all started from one drawing, which later developed into a series. I was experimenting with watercolours and attempting a lo-fi feel. Although the outcome was nothing like what I had envisioned, it was charming in its  own way, and inspired a series that later became the concept art to the film.

I began to put out requests for interviews, and received 4 brilliant sound bytes from peers and friends around the UK. The stories they told fit perfectly with my vision for the film, and after some editing and fine cuts, I had already put together the sound portion to my animation!

Through co running the animation society, I also got to meet Nacho Stax, who had been visiting to find animators, and asked him to create the music for my documentary. I wanted something summery and nostalgic, uplifting, but gentle enough so as not to drown out the words. I think that he delivered on all fronts above and beyond what I had expected!

After sound design was finished, and I had a rough animatic to go by, I began the laborious task of painting each hand coloured background, character, and prop. I developed techniques as I progressed, and managed to keep to a style that was imperfect, and yet meticulously detailed. A signature mark of most of my work.

As I had chosen an angle that we rarely get to see, I ended up needing a lot of reference footage to create my puppets from. Luckily I had my classmates, Sophie Siebert, Bailey Dickenson and Pavel Spasov to act for me, as I filmed them from the bridge. 

To test my animations, I used my phone's google assistant to create rough stop motion animation by photographing each piece on top of the background, and stitching the photos together. This gave me a rough idea of how many pieces I would need, and if they flowed.

After creating each scene, I had the assistance of Ann Janette Quitorio to help scan, upload, and remove the backgrounds in photoshop for each piece.

I then  began to composite in animate CC, using photoshop to create any unforeseen in-betweens from cutting up existing pieces.

I then enlisted the help of Angeline Ferguson to find the right effects to use to create a 'TV' flicker effect overlay, which I could add to each scene to pull the whole film together. Angeline went above and beyond, also helping me make some TV static. I also created an after effects title card that would glitch.