The Art of Hear Us Out
1The Art ofby Anej Golčar
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- Page 4 and 5: About the Director4About the Direct
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- Page 8 and 9: Storyboard8Storyboard
- Page 10 and 11: Storyboard10
- Page 12 and 13: Storyboard12
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- Page 18 and 19: Stills18
- Page 20 and 21: Stills20
- Page 22 and 23: 22Behind the Scenes&In the Workshop
- Page 24 and 25: Production24Each branch is made out
- Page 26 and 27: Production26After and before adding
- Page 28 and 29: Production28Trunks were scratched w
- Page 30 and 31: Production30
- Page 32 and 33: Production32Some trees consisted ou
- Page 34 and 35: Production34Before weathering I app
- Page 36 and 37: Production36Weathering the roof
- Page 38 and 39: Production38First I painted the gro
- Page 40 and 41: Production40More layers of differen
- Page 42 and 43: Production42Shaping the fence out o
- Page 44 and 45: Production44
- Page 46 and 47: Production46A finished sheep and th
- Page 48 and 49: Production48Wolf armature
- Page 50 and 51: Production50Wolves in different sta
1
The Art of
by Anej Golčar
2
3
About the Director
4
About the Director
Anej Golčar (1999, Maribor, Slovenia) is a visual artist and film-maker based in Rotterdam,
The Netherlands. He is currently in his third year of animation studies at Willem
de Kooning Academy. Thus far, he has been working on a diverse range of individual and
group projects, ranging from sculpture, dynamic installations, theory-fictional texts to
moving images, and sonic fiction. His approach is eclectic, often exploring, learning, and
combining new media to convey ideas. Recently he started gaining expertise in the field
of stop-motion animation, with Hear Us Out being his first finished work of this sort.
Because of the limited collaboration possibilities during the covid pandemic, he took up
the challenge to work on all the steps of the production, from concept development to
post-production, on his own.
5 Production Details
Title
Hear Us Our (Usliši nas)
Log line
A short visual poem about miscommunication between human and nature.
Synopsis
A short visual poem dealing with the problem of miscommunication between human
and nature. Told from the perspective of an old tree that has witnessed a long-lasting human-induced
chain reaction that ultimately led to the destruction of the ecosystem.
Year of production
Runtime
Aspect ratio
Format and resolution
Language
Subtitles
Genre
Technique
General info
2020
2’ 10’’ (WIP)
2:1
H.265 UHD 4K
Slovenian
English
Visual poem
Mixed media:
Live action and
stop motion animation
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1
7
Pre-production
Storyboard
8
Storyboard
9 Storyboard
Storyboard
10
11 Storyboard
Storyboard
12
13
Poem
Poem
Naša zgodba je dolga in pusta.
Tvoj čas izmuzljiv.
Tvoje življenje je bežno in bežna je tvoja pozornost.
Zakaj bi nas poslušal?
Nismo pomembna in nismo privlačna,
saj nisi neumen, od zgodb ne boš sit.
Zbudi se, dnevni opravki kličejo.
Maščuj se, mašuj!
Bistrejši si od njih.
Bistrejši si od vseh nas.
Nisi kriv. Kriv si.
Nisi kriv. Kriv si.
Nisi kriv, ker ne razumeš.
Kriv si, si domišljaš, da razumeš.
Vsemogočni človek!
Praviš, da si bog,
Bogovi prisluhnejo.
Rotimo počasi,
kričimo neslišno.
Prosim, usliši nas.
Zate oddaljen krik.
Nem. Nebogljen.
Prosim, usliši nas.
Videla smo, ko niste vedeli, da gledamo.
Slišala, ko vas ni skrbelo, da poslušamo.
In tudi govorila smo, ko niste imeli časa, da bi razumeli.
Ločena, izvzeta. Smrtna kot ti.
Oster veter šelesti skozi naše krošnje.
Naše veje trohnijo.
Stoletje nas je sonce hranilo s svojimi žarki
Sedaj umikamo svoje sence, da jih damo naslednjim.
Naša pripoved je mrka in utrudljiva.
Nerazločen in nepoznan naš jezik.
Star boš in grbav, ko jo boš lahko razumel.
Slaboten kot mi, ko bo postala zanimiva.
Nam boš takrat prisluhnil?
Our story is long and dull.
Your time evasive
Your life is fleeting, and fleeting is your heed.
Why would you listen to us?
We’re not significant and we’re not attractive,
You’re no fool, fables won’t feed your hunger!
Wake up, daily errands won’t wait!
Revenge, revenge!
You’re brighter than them,
you’re brighter than us all!
You’re not guilty. You’re guilty.
You’re not guilty. You’re guilty.
We don’t blame you because you don’t comprehend.
We blame you because you’d like to think you comprehend.
Human almighty!
You tell you are god,
Gods listen.
Inaudibly we scream,
slowly beseech;
Please, hear us!
A cry, faraway.
Mute, helpless.
Please, hear us!
We saw when you didn’t know we were looking.
We heard when you didn’t know we were listening.
And we spoke too when you didn’t have time to understand.
Parted, excluded. As mortal as you.
Sharp wind is rustling through our foliage.
Our branches decay.
For a century sun has fed us with its beams.
Now we thin our dense shadows to hand it over to the next.
Dour and tiring is our story.
Illegible and unfamiliar our speech.
Old and humpbacked you’ll be when you’ll grasp it!
Feebler than us when it gets intriguing.
Will you hear us then?
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2
15
Production
16
17
Stills
18
19 Stills
Stills
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21 Stills
22
Behind the Scenes
&
In the Workshop
23 Production
Trees before the final layer of needles
Production
24
Each branch is made out of wire and inserted into the trunk
25 Production
Background trees were made out of coconut fibre
Production
26
After and before adding the needles
27 Production
A realistic foliage was achieved by glueing tiny pieces of green foam onto the fibre from FPP2 masks
Production
28
Trunks were scratched with a steel brush to achieve realistic texture
29 Production
A nail was attached to each trunk, so that it could be easily attached to the ground
Production
30
31 Production
Production
32
Some trees consisted out of real tiny branches
33 Production
Buildings were made out of wooden spoons
Production
34
Before weathering I applied an initial coat of brown paint
35 Production
Roof is made out of combed aluminium foil glued onto the pieces of cardboard
Production
36
Weathering the roof
37 Production
The terrain is constructed out of polystyrene
Production
38
First I painted the ground using acrylic paint
39 Production
Then the initial layer of sifted dirt was glued onto the surface
Production
40
More layers of different materials were sprinkled over to achieve a realistic forest ground
41 Production
Trees had to be carefully screwed into place
Production
42
Shaping the fence out of soft balsa wood
43 Production
Weathering the wood using the disinfectant and ink solution
Production
44
45 Production
Additional elements
Production
46
A finished sheep and the armature
47 Production
Human armature
Production
48
Wolf armature
49 Production
Needle felting the wolf
Production
50
Wolves in different stages
51 Production
Custom support wire
Production
52
Supports were later removed in post-production
53 Production
Improvised home studio
Production
54
The initial plan for the fence had to be carefully measured, as the construction happens live during the animation
55 Production
Final fence
Production
56
Some real-life props were used in the background
57 Production
58
Wiring for the lights was inserted into the ground and covered with more material
59
An Arduino controlled the lights and assured that the power was constant
Production
60
I used a custom-made tool attached to a normal tripod to make the panning shots
61 Production
Zoom positions were marked on the lens using masking tape
Production
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63 Production
Human figure setup - I only needed the shadow
Production
64
The drop of blood was made out of red clay and fake blood
65 Production
In total I used almost 2 L of paint and 1 L of spray glue
Production
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67 Production
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69
Production
70
On the set of the live-action scene, using a gimbal for the very first time
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Distribution
Poster Production
74
A VISUAL POEM BY ANEJ GOLČAR
December 2020 - Willem de Kooning Academy
Rotterdam, The Netherlands
Poster
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Poster
A VISUAL POEM BY ANEJ GOLČAR
December 2020 - Willem de Kooning Academy
Rotterdam, The Netherlands
Poster - alternative version 1
Poster
76
December 2020 - Willem de Kooning Academy
Rotterdam, The Netherlands
Poster - alternative version 2
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