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Until recently, we assumed there were only a few options when it came to holiday trees. Then we rewatched arguably Tim Burton's best film and are opting for a
Tree. Plus, if you refuse to let go of Halloween, the spooky animated flick will not only give you all the October 31st feels and get you ready for Christmas. If you haven't seen
It follows the story of Jack Skellington, the Pumpkin King of Halloween Town. Skellington gets word of Christmas and wants to bring the festive celebration to his creepy, eerie community. As you may be able to guess, madness ensues, making it the perfect family-friendly holiday movie. Here's the thing, though:
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So if you want to jump on the scary Christmas decor bandwagon, we'd suggest a black artificial tree. Our favorite? A three-foot (or 7.5-foot) black Christmas tree from Wayfair. Did we mention it's on sale for almost half off?
So this holiday season, transform your space into your own personal Halloween Town that even Burton would be proud of. Gone are the days of decorations in the typical gold, silver, green, and red palette because this year, it's all about black and orange.
Angela Belt is the contributing Assistant Shopping Editor at House Beautiful. She's also an interior designer and is the host of her own podcast, The Mood Board. When it comes to design, she's an esteemed expert with some of her work also appearing in HGTV, Better Homes & Gardens, The Washington Post, and more.
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Presented by JC Penney 105 Fun and Festive Christmas Decorating Ideas 65 Unique Stocking Stuffer Ideas for the Holidays 23 Unique Personalized Christmas Stockings The Best Christmas Inflatables for the Holidaysgives traditional stop-motion animation a shot in the arm. From its inception, director Henry Selick and his team set out to make sure that
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Would use many of the same techniques as live-action films. The result weaves elements of traditional frame-by-frame animation with the realism of actual three-dimensional sets built and lit as in live-action.
Selick introduced many innovations in his work for MTV and commercials and was anxious to try them on the big screen. He found a perfect partner in director of photography
Story Synopsis Jack Skellington, king of Halloween, has grown tired of leading the happy ghouls of Halloween Town in their annual holiday preparations. Discovering another holiday on his accidental visit to Christmas Town, Jack is inspired to take over for Santa and delivers Christmas with a new spin on it. Jack learns a lesson from the resulting mayhem, and Santa gets the holiday back on track.
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Cinematic Approach "How will anybody be able to sit through 90 minutes of animated puppets?" I wondered. My first reaction to the proposed feature was that of a stop-motion fan turned apologist for too many examples of the craft that rely on novelty to support weak production values.
Director Henry Selick and I agreed that the expectations of a hip modern audience would be more sophisticated. To hold their interest,
First, the lighting design needed a defining direction. Stop-motion films commonly use high-key soft lighting to showcase animation, often at the expense of drama. But the fantasy nature of
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Regarding Halloween as a “period holiday, " I sought classic black-and-white thrillers for reference. The camera crew got together to view films and dissect example shots.
Although we were filming in color, black-and-white lighting techniques would prevail, with hard light, separation of planes by contrast, shadows as graphic elements, and theatrical pools for dramatic emphasis. Color would be used for its emotional content and avoided as a separating tool.
Art director Deane Taylor's Gothic Halloween sets invited such lighting with their strong angular forms and textures. Paint colors were held to a limited, grayed-down palette.
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Contrast viewing glasses were copies of the dark yellow Mitchell viewfinder glass. Originally intended for black-and-white, the filter helped emphasize shape over color. Visual consultant Rick Heinrichs introduced selective contrast-enhancing with black and white paint.
Theatrical means were used to create the illusion of distance. One or more large scrims separated elements in long shots, slightly milking out blacks in the distance. When scrims could not be used, distant objects were given a cool gray over-spray instead.
Walking characters through obscuring shadows took some adjustment from lighting crews in the habit of displaying an animation as clearly as possible. The trick was to balance mood, lighting, and the readability of abstract characters. Narrow beamed specials helped, with the cooperation of animators hitting their marks.
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Practical sources were important as story elements and mood enhancers. Deane designed candles, lanterns, bare electric globes, torches, a gas stove, and so forth as Halloween practicals. In the more cheerful Christmas Town, there were holiday lights, fireplaces, and table lamps. Set dresser Gretchen Scharfenberg developed an arsenal of dependable miniature lamps for the purpose. To avoid burnouts on multiple-day shots, Gretchen used high-reliability globes and ran them under voltage.
Some practicals could provide illumination themselves, but they usually needed help. In spooky scenes with a handheld lantern throwing a character's shadow, several bare inky globes were hidden and sequentially dimmed up and down in sync with the performance.
Day exteriors wouldn't be as atmospheric but needed to carry the seasonal feeling. Morning was keyed a signature pale yellow, and evening a limited range of rosy and purple. Key was from a low angle, as the sun is shining in October. Even in full daytime shots, the key direction was kept low and diffused with opal frost for softer shadows. Varying amounts of CT blue and a high fill level helped form the chilly overcast look of fall.
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Three sequences needing different lighting for their own storytelling purposes, occur within the lair of bogeyman "Oogie Boogie." The "normal" lighting in this underground cavern was inspired by memories of scaring younger siblings with flashlights held under chins; the look was accomplished via variations of hard blue light with little or no fill.
Jack and Oogie's battle sequence was keyed from a central pit of hot glowing bug stew. Radially out from the pit light got dimmer, and was gelled down from yellow to orange to red, and finally underexposed purple. Rich Lehmann and Sara Mast enhanced the hot feel of the sequence by fogging areas of scenes with orange and yellow glows.
In a third lair sequence, we used only ultraviolet light and some animated practical chasers. Painted with fluorescent colors, selected set pieces and characters glowed like a '60s psychedelic poster. For the comfort of the animators, UV tubes were rigged to turn on for the exposure only.
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Romantic interest is found in the character Sally, a shapely rag doll who wishes Jack would turn his narcissistic eyes her way. I had wanted to try glamour lighting in stop motion, and here was a chance. Would it translate, or just look silly? Photography of the leading ladies of the '40s was emulated with a high special on Sally's face, vignetting surrounding areas, and extra diffusion. Sometimes a tightly cut eyelight was included, requiring animators to keep Sally in the light, or animate dimmers. Ray Gilberti and Chris Peterson used this approach in a sentimental finale. Male crew members indicated a hormonal response in dailies, verifying the success of the experiment.
Jack's visits to Christmas Town and the Real World used lighting designs to set them apart from Halloween Town. Christmas Town exteriors were more softly lit, starting with a general cool blue key and fill. Henry desired a nighttime carnival feel in the town, which was accomplished by warmer colors from practical street lamps, windows, and strings of Christmas lights. Houses were accented with specials gelled the same colors as the buildings. These specials were allowed to creep onto the surrounding snow, giving the effect of houses radiating colors. The sky had a cheery blue horizon glow and pointed stars. Individual 30-watt star lights just behind the muslin sky backing were dressed to camera.
The "real world" was supposed to look a bit askew, as if seen through the eyes of our otherworldly main character. Sets with distorted perspectives were used for interiors. We experimented with ripple effects, weird color timing, and the like, finding strong effects too distracting for a whole sequence. We settled on a theatrical filling-in of shadows with another color. This was done primarily by gelling fill lights. Eric Swenson and Mark Kohr also colored shadows by flashing the negative with a color before animation.
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Freedom to light for stop motion in a no-compromise manner required some precautions. Mains voltage varied between 95 and 125 volts on some days. To avoid flicker, power was delivered to the stages from two industrial power conditioners, holding within one volt of 117 volts. This permitted shots to extend over several days without changing brightness.
Each of the 20 stages