About Me
Basic Information
- Gender
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Female
- About Me
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As a child, I was afraid of the dark.
I’d dread waking to it in the small hours, swinging bare legs over the edge of the bed (well within the grasp of the skeletal hands beneath) and dashing across the carpet to turn on the light. Often however, I’d just lie there. Too scared to move for fear of disturbing those hands that had now crawled along the bed frame and were gently scratching at the corners of my mind. As I grew, so too did my fascination with monsters. I soon learnt that every kindly Dr Jekyll harbours his own sordid Hyde and that the manufacture of beasts is the main staple of those who wish to consume us. - Hobbies
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I am inspired by places. I want to explore dusty attics, forest thickets, forgotten pathways and abandoned tube stations. I am drawn to texture. I want to run eyeballs over rusty surfaces, viscid meats and the velveteen of flock wallpaper. I am intrigued by dark themes, by urban myths and cautionary tales, distorted dreams and memento mori. Most of all I am eager to lift the mask, to peer beneath and ponder who really has the sharpest teeth.
I am still afraid of the dark. - Favorite Animators
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- Jan Švankmajer
- Jiří Barta
- The Brothers Quay
- Robert Morgan
- Adam Pesapane
- Adam Eliot
- Anthony Scott
- Andy Huang
- Piotr Dumala
- The Bolex Brothers
- Ivan Maximov
- Terry Gilliam
- David Firth
- Yuri Norstein
- Ray Harryhausen
- Julian Grey
Favourite Animation Directors
- Tim Burton
- Henry Selick
- Lizzie Oxby
- Joaquín Cociña
Contact Information
- City / Town
- London
- Country
- United Kingdom
- Website
- http://earsandwhiskers.co.uk
Friends
Groups
WhiteRabbit
'The Bone House' pre-production update:
http://blog.earsandwhiskers.co.uk/2011/12/sound-bites.html
http://blog.earsandwhiskers.co.uk/2011/12/sound-bites.html
6 months ago
- Profile Video
- My Profile Video
- Karma
- Member since
- Friday, 19 November 2010 06:17
- Last online
- less than a minute ago
- Profile views
- 1798 views
Wall
Hi! Nice to meet you, WhiteRabbit!!! Thanks for the comment :D
Thursday, 30 June 2011 09:39
luc,
Very clever your profile video. So simple and so nice. Wow.
WhiteRabbit on Thursday, 30 June 2011 03:22
WhiteRabbit on Thursday, 30 June 2011 03:22Many thanks for your kind words luc :) Loving your sculpt tests, especially Mr Cockroach. Are these for a particular project?
Wednesday, 29 June 2011 18:39
Lovely to meet you to, thanks for the comment, love the design work in your story :)
Tuesday, 28 June 2011 05:02
Hey white Rabbit! Ah, good old KIAD. No I didn't attend there, but I thought about it! I studied down in Brighton. Glad you like my work, and i'm very pleased you recognised 'The Sandman'! xxx
WhiteRabbit on Friday, 10 June 2011 12:08
WhiteRabbit on Friday, 10 June 2011 12:08Ahhh, Brighton... Just wondered as KIAD had a wonderful modelmaking course when I was there. Still, sometime ago now! Anyway, lovely to meet you! ;) x
Friday, 10 June 2011 12:02
m_) A white rabbit? milk hare, all in march? That looks like heck of a combo to me! :)
WhiteRabbit on Tuesday, 01 March 2011 09:29Metalmadcat on Wednesday, 13 April 2011 11:19WhiteRabbit on Tuesday, 17 May 2011 09:03
WhiteRabbit on Tuesday, 01 March 2011 09:29Hello! Lovely to meet you! Yep, as mad as a box of frogs! ;D
Metalmadcat on Wednesday, 13 April 2011 11:19hey there RABBITTUDEEEEEEEEEEE, sorry for the long reply.. jeez where was I? ....enjoy the fest!!!!!! soon to come back here in this virtual universe.
thanks for youtube commnts friend addition, and all feedback.
take care
WhiteRabbit on Tuesday, 17 May 2011 09:03Hello you mad moggie! We seem to be caught in a reply timewarp! Hope to see your Cheshire Cat grin sometime sooooooooon! ;)
Tuesday, 01 March 2011 08:43
Feeds
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8 Dec 2011
Crooked Mr. Bird
He stamped 'em down he hacked off limbs,
He dug in bones, flesh, teeth and skin,
To squeeze a few more punters in,
That's crooked Mr Bird. -
1 Dec 2011
Sound Bites..!
'Vegetables were harmed in the making of this animation..!'
In addition to composition of the music, another important task in the pre-production of forthcoming stop-motion animated short, 'The Bone House' is the manufacture of sound effects.
Although compilation of the soundscape is an ongoing process that will only be finalised in post-production, there are two reasons why we've elected to record sound effects at this early stage. The first is their use in animatics (a rough edit of the entire film produced from the storyboards). The second is their use in the percussive section of the music. Inspired in part by Jan Švankmajer's attention to sound, we decided that a nice texture could be added to the music by using sound effects related to the story, in addition to more conventional percussion such as drums.
From left to right: Pat creates digging sounds in improvised sound booth, Pat hits red cabbage with a hatchet (and is slightly traumatised, being a vegetarian), Linze manages the sound recording desk (and eats too many biscuits), Emma worries the butcher with requests for large, clean bones...
We've two methods to harvest sound. The first is 'sound farming' where we set up a sound booth and artificially manufacture sound effects from various objects. The second is 'sound fishing' where we set off on an expedition to capture sound as it naturally occurs. Interestingly, great sounds can originate from sources that you wouldn't expect. For example, a convincing 'body being hit with an spade' sound effect was created by striking a red cabbage with a hatchet.
Conversely some sounds just don't sound 'right' even if the actual objects are used. Striking bones doesn't create the sound you might associate with the action. Rather a dead, uninspiring thud is produced. Still, it was fun to experiment (and also to worry the butcher, who shot us a look of concern when we asked for large, clean bones... for a film!) -
25 Nov 2011
You Hum It, I'll Play It..!
We're in the midst of pre-production for 'The Bone House' so I've penned some notes on our progress so far, in particular the development of the soundscape.
As this animated short will be presented as a macabre musical featurette, composition of the musical score has been one of the first production priorities. For me, the soundscape offers as much opportunity for plot and character development as the visuals, and a key directorial aim from the outset was for the music to lead the narrative and provide the essential structure for the production. So, unlike a more conventional approach to filmmaking, where music is 'incidental' and maybe isn't considered until post-production - AND even though there is no lip-synching planned - we've started with the music as, in this instance, it will form the spine of our short film.
From left to right: Linze blows the cornet, composition in CueBase,Linze tinkles the ivories with digital recorder, Pat and Linze design the instrumentation.
Our process so far has been thus: The director prepared a range of briefing materials, including completed lyrics and the bare bones of a musical form. The music team then produced an initial draft of the composition, developing on form and outlining the main sections of the instrumentation. The director responded to this initial draft with rough storyboards and partial animatic, which in turn enabled the music team to weave the composition more tightly around this skeletal storyline. This process of collaborative refinement continued until a final draft of the entire production (i.e. a completed score and animatic in rough format) emerged from the murky depths of our collective consciousness. The birth of this musical narrative has therefore been a highly collaborative endeavour, with artists in two different disciplines (music and vision) passing ideas back and forth until an entire audiovisual production has been formed.
It has been a very positive educational experience and I couldn't be happier with the results if you dipped Johnny Depp into a bucket of sprinkles and dropped us both into a vat of warm chocolate sauce. I'm joking of course – it would have to be Tim Burton in that sprinkles bucket to match the genuine excitement I now feel for this forthcoming stop-motion short..! ;D xxx -
1 Nov 2011
Giving Up The Ghost
Hope you had a suitably spooky Samhaim and happy 'Day Of The Dead!'
I love the magic and the madness of Halloween - the thrill of a horror film and the dreamlike images that fill the streets as party-goers spill from masked balls and costumed soirées. But this festival season also provides the opportunity for reflection and memorial. It is the time of year when the membrane between this world and the next thins. When we can reach out to our dearly departed and cradle fond memories. When we can celebrate their lives and consider what we have gained from our knowledge of them.
Recently I read a wonderful article from author and graphic novelist, Nimue Brown, that added another dimension to the potential of this festival. She writes "This is also a good time to think about what dies within us as part of our own cycles of growing and stripping back. Inner deaths can be a gift as much as a loss and either way they create the room for new starts and fresh opportunities. Without the dying, there could be no new things." [Nimue Brown, 'Samhain And The Dead' from 'Druid Life']
Just as any other new year celebration, Samhain is a time for fresh starts and new approaches. I began to ponder those personal demons that haunt me... The guilt I carry on my back for pursuing a life as an artist. The depression that waits patiently at my heals, ready to curl onto my lap on darker days. The anxieties I've caught in small gilded cages about me and the ever-present fear that, at any moment, those cage doors could spring open, engulfing me in a whirlwind of madness and panic.
Today is 'Día de los Muertos', The Day Of The Dead. It is a time to both recall and relinquish those that haunt us.
Today, I hope you will join me in giving up the ghosts.
