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Color Script: Tracking the Emotional Arc of the Film

Baby Birds

Artwork by Michael Spooner

Bugs-Up Close and Personal

The Uninvited Guest

Illuminating St. Peter

Out the Window

The Baby Coos

Stained Glass Saints

Brother Thomas Maquette

Latest News

Check out the latest developments to the film

Up Close and Personal: Evolution of a Macro Set for Stop Motion

20th March 2015 by Steve Leeper

Over the past few weeks Katy Seymour and I have been working in front of the camera with plastic plants, paper cut-outs, and a variety of materials to pull off the feel of macro photography.


The film opens with a handful of super close-up nature shots to give a heightened sense of detail, making us feel like everything is magnified x10.


Read about Katy below and pick up more on our process by clicking on the production images.


Read more…

Color Script: Tracking the Emotional Arc of the Film

17th March 2015 by Steve Leeper

This spring Abi Freeland has been working closely with me on color scripting the Br. Thomas film and I couldn’t be more pleased with the results!

The Color Script is a road map for the entire production.  Once complete it will ensure that lighting and set designs for each shot will play to the larger emotional themes in the film.


This is an early snapshot of the role color plays in Br. Thomas.  You can see from below how far we’ve come in just a few short weeks.  Which means there will be plenty to post in the future!


A huge thanks to Josh Addessi who’s been chiming in to keep us headed in the right direction.

Read more…

Scriptorium Design: The Grand Mural

15th March 2015 by Steve Leeper

A major design element in the film is the “Grand Mural” that is eventually unveiled in the final scene.  It is the major source of light in the scriptorium and central to the look and feel of the room.


This first image is my original drawing of the Madonna, the Christ child and the stained glass saints as Br. Thomas encounters them in his daily routine.


This second image is concept art by my friend Michael Spooner.  Not only does Michael’s drawing open up the space cinematically but it also gives us an idea of how the final unveiling will eventually effect the interior space of the scriptorium.  Read more…