Bork was a student project made by a team of six over six weeks. 

Bait was the final project for Philip's 3D Animation course at Auckland's Media Design School.

It was created over 3 months and Philip created everything from scratch except for the music which was provided with the kind permission of Darude.


The key part to any successful animation or integration of a special effect into a live action film is compositing - that is the adding of separate elements together such that they look like they are naturally in the same scene together.  Below is a simple demonstration of how this is achieved and the number of steps involved in even a simple shot.



A background image in this case a painted sky


Painted background

Tiger beauty shot

The tiger as rendered with lighting

Midground grass

A layer of grass in front of the tiger's feet

The Wascally Wabbit

The beauty shot of the rabbit is added with lighting

Ambient Occlusion

This layer adds shadows, not just prominent ones but also the darkening found between shapes such as between the fingers of your hand


Grass layer in the foreground

Smoke effects

Bringing the steampunk tiger to life

Atmospheric haze

A haze layer is applied based on the distance from the camera (called the z-buffer)


Colour alteration layer to create the mood required.

Tone and lens distortion

The haze effect is increased to provide a more claustrophobic tone and a lens distortion applied to subtly give the impression it was actually filmed as live action.  This is the final screenshot.

So how is a stop motion film like Bork made? Primarily it just takes a time; you can make a stop motion film with a simple camera and one single object which you move between each frame.

Bork was a larger project made as a team of six students over six weeks.  Here's what was involved:

Script and Storyboards

 A storyboard is simply a progression of sketches showing each shot of the finished film and any elements that need to be considered while filming.

Set design and construction

Here we are building the sets from polystyrene and cardboard.

The finished set

Ready for shooting!

Character creation

Here Jonathan is working on his wonderful Swedish Chef puppet.

Two Heads are better than on

The upper head is the "hero" head which will be saved, while the lower one is the "stunt" head ready for destruction!

Talking Pictures

In order to make Ramsay talk we model each mouth shape and replace it on the model frame by frame

Team planning

Brainstorming to check that we had covered all of the bases.


Frame by frame, the puppets and props are moved slightly, including ruffling of eyebrows and the chef's moustache to simulate speaking.

Multiple cameras

Some shots required several cameras to allow us to edit between the shots later.

Checking position

Each frame is checked against the last to ensure that the change of position is neither too great nor too small.

Hiding spots

We planned the set so that we could hide behind the counter while the shot was taken.


Some shots required items to be suspended in mid-air (in this case debris from the explosion).  To do this we rig up wires to suspend the debris while allowing some motion blur.

Wire removal

Here you can clearly see the wires which will need to be painted out, frame by frame afterwards.

Camera banks

For Ramsay's head explosion we could not risk knocking the camera mid-shot, hence we used 4 cameras at once to minimise the risk.