FILTH is on line so I won’t waste time with a long post. Give the film a look. Let me know what you think and share it as much as possible.




Every scene has a shot or two that require a ridiculous amount of set up. You know the ones I’m talking about, those cool shots with the weird camera angles that show off how clever you are as a director. I leave those shots to the very end of a set’s life because they often require me to literally tear the set apart to get what I’m looking for. The two I needed for this scene are now done and this set has been dismantled. A nice way of saying it’s been trashed. As I write this my table sits empty awaiting the next location.



riding into town

For the first time in over 3 years, I missed a weekly post. Work ground to halt on FROM HELL HE RIDES these past 2 weeks but slowly, I am returning to my routines. I animated one shot last week and I plan to get back at it this weekend. There are only a half dozen shots left in this scene before I start work on the next set so I’m hoping to get back on the horse.



I sculpted my close up horse in a day. It’s not going to need any kind of skeleton other than the little contraption its sitting on so I think I can have it ready by next week. I also finished painting the sky. I’m never comfortable doing large scale paintings like this. It’s not something I do often so I feel that my abilities are somewhat lacking but having said that, I plan to throw this particular background way out of focus which will help to mask my shortcomings. There are only a dozen set ups needed at this location before I move to the next major scene; inside the cabin.
to achieve with this film.



My animation table is transforming again. I hope to have a new set up and ready fairly quickly so that my man with no name can ride into town. This past week, I put the finishing touches on the prologue for FROM HELL HE RIDES. From opening shot to the end of the title card, 2 minutes worth are now complete. I usually don’t have title cards done this early and it may change before this film is finished but what I have right now, I really like. It perfectly evokes the spaghetti western aesthetic that I’m hoping to capture. Watch the opening titles for The Good the Bad and the Ugly and you’ll know what I mean. I think I’m right on the mark with respect to the tone I’m hoping to achieve with this film.


X4 again

Crazy as it sounds, I have not had occasion to animate more than 3 characters in one shot in over 10 years. For very practical reasons I tend to shy away from numbers. First because it’s time consuming, second, because it means building a lot of puppets and third, quite honestly, it’s hard work. Having said that, this scene doesn’t require a whole lot of complicated animation and it is nice to have a full screen of characters up there. If you’ve done this for as long as I have you quickly find yourself falling into a rhythm once you start animating.



I hit something of a milestone this week. I completed my 50th shot for FROM HELL HE RIDES which leaves 330 to go. 330 by coincidence just happens to be the total number of shots in FILTH. Looks like I will be animating for at least 11 more months. I reach this point in every film, where I start to consider what’s ahead and even though I still maintain a healthy enthusiasm I’m always struck by the challenge I’ve set for myself. It’s at times like this that it can seem like an insurmountable task.


The hills have eyes

The cabin is gone and I’m building again. This set will not take me long to create but it comes with a whole new set of obstacles; mainly trying to come up with a way of using my limited amount of space to create an expansive landscape. Forced perspectives and creative lighting will once again rule the day and while there will be some digital additions I haven’t reached the point of just hanging a green screen and keying it all in later. The old school part of me still feels the need to keep it real.