As you could probably guess, things don't go well for our colorful hand-rod puppet heroes.
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A rod puppet with typical rods to control the arms. A rod puppet is made out of wood wire and string and is manipulated with wooden or wire rods.Sinclair, A, The Puppetry Handbook, p.15 Rod puppets can sometimes have a complete working hinged mouth but many do not.
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Fincher suggested that a Whippet be dressed in an alien costume for on-set coverage of the quadrupedal alien, but the visual effects team was dissatisfied with the comical result and the idea was dropped in favor of the puppet. The rod-puppet approach was chosen for the production rather than stop-motion animation which did not provide the required smoothness to appear realistic. As a result, the rod-puppet allowed for a fast alien that could move across surfaces of any orientation and be shot from any angle. This was particularly effective as it was able to accomplish movements not feasible by an actor in a suit.
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Some differences between the two types include tension filled joints for the stop-motion puppet, while the rod puppet was looser. The flexibility of the rod-puppet allowed for faster movements, which were needed occasionally for real-time filming. For Bloodstone and Bloodlust, Wayne Toth and Norman Cabrera came on board to create the special make-up effects for the films; they also pulled double duty composing and performing the music, alongside Romanian musicians, for a portion of Bloodstone. The limited budget that Toth and Cabrera had to work forced them to use any location they could find in order to apply the make-up to the actors, as they did not have a separate workstation.
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Spherical with a free-moving domed head, BB-8 is portrayed by both a rod puppet and a remote-controlled robotic unit. The character has been well received by critics and fans, and has become one of the most beloved and recognizable characters of the Star Wars saga in recent years.
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Her marriage to the puppeteer Paul McPharlin was in 1948, a few months before his death. Marjorie was also the creator of the hand-rod puppet which was a style Jim Henson took up for The Muppets. Marjorie Batchelder McPharlin was in attendance and spoke at the first-ever Puppeteers of America Festival in 1935, in Detroit, Michigan.
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Gamelan salendro in National Museum of Ethnology, Osaka. The gamelan salendro is a form of gamelan music found in West Java, Indonesia. It is played as an accompaniment to wayang golek (rod puppet) performances and dances. It uses a similar ensemble as a small central Javanese gamelan, but has developed differently, and shows the more exuberant character.
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Free hand puppets do not have rods, mechanisms, or live-hands for their arms. While their head controls are the same as a rod puppet, the hands are moved by physically picking them up and moving them. In the show Ricky is the only puppet with this design because it is intended for use by a left handed puppeteer.
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Asep Sunandar Sunarya (3 September 1955 - 31 March 2014) was a Sundanese wayang golek dalang (Sundanese rod puppet master). He was one of the most famous puppeteers in the genre. Sunarya was born in Kampung Jelekong, Baleendah, Bandung, where he died on 31 March 2014 at 14:20 WIB (UTC+7) of a heart attack. He was 58 years old.
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The series was shot on-location in Romania, utilizing stop-motion and rod puppet techniques to achieve the look the director wanted for the series' subspecies creatures. The series has had mixed reviews with critics citing vampire clichés as a downfall of the films, but generally commending the director's choice in filming in Romania, as well as the special effects used in the film.
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The creature effects for this miniseries were provided by Jim Henson's Creature Shop where they used a talking animatronic pig roasting on a spit, a CGI for Scylla, a rod puppet sea slug- like sea monster that devours Laocoön, and the full-bodied version of Polyphemus. The boat used in the series was reused a few years later for the Jason and the Argonauts miniseries.
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From 1974 to 1975, the company Stage Three – co-founded by Thunderbirds puppeteer Christine Glanville – hosted a Thunderbirds rod puppet stage show at Bournemouth Pier and other venues.Bentley 2005, p. 116. In the mid-1980s, Mime Theatre Project performers Andrew Dawson and Gavin Robertson devised a tribute show called Thunderbirds: F.A.B., which in 1989 broke West End sales records at London's Apollo Theatre.Bentley 2005, p. 119.
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The marotte is a simplified rod puppet that is just a head and/or body on a stick. It was used by jesters in renaissance times. In a marotte à main prenante, the puppeteer's other arm emerges from the body (which is just a cloth drape) to act as the puppet's arm. Some marottes have a small string running through the stick attached to a handle at the bottom.
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National Puppet Theatre was established in 1975. It was a great step taken by Pakistan National Council of the Arts, Ministry of Culture & Pakistan in order to revive the most popular folk art, which was dying due to negligence. Two groups were sent to China for Rod puppet training in 1975 & 1979 & a third was sent to Poland in 1987.Since then its quest to promote the art of puppetry, at home and in remote/ far flung areas of Pakistan, is in progress.
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The Alien is portrayed by both Woodruff Jr. in a suit and a rod puppet filmed against bluescreen and optically composited into the live-action footage, with the rods removed by rotoscoping. A mechanical alien head was also used for close- ups. The suit adapted the design used in Aliens so Woodruff could walk on all fours. Woodruff's head was contained in the neck of the suit, because the head was filled with animatronics to move the mouth of the Alien.
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The most sophisticated technique was originally developed for the film The Empire Strikes Back and used for some shots of the tauntauns and was later used on films like Dragonslayer and is quite different from traditional stop motion. The model is essentially a rod puppet. The rods are attached to motors which are linked to a computer that can record the movements as the model is traditionally animated. When enough movements have been made, the model is reset to its original position, the camera rolls and the model is moved across the table.
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Allen went through all of the film footage that contained the Romanian extras in their rubber suits with the film's editor in order to find usable footage before and after the men enter the scene. Allen would use the isolated footage to develop a new background for the animated creatures he would later create. Allen created two puppet types, displayed in front of a bluescreen: a stop-motion puppet and a rod puppet. Each of the puppet types were composed of foam rubber, and held similar skeletal systems.
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Wayang wong Priangan refers to a Sundanese version of wayang dance drama, developed in the Priangan region in the heartland of West Java. Wayang wong Priangan developed in the late nineteenth century, peaked in the regencies of Bandung, Sumedang, Garut and Sukabumi in the period before World War II, and receded by the late 1960s as audiences waned. In the Sundanese tradition, the most prevalent wayang tradition is wayang golek, a wooden rod puppet performance. Nevertheless, the wayang-themed dance drama performance also exists, usually performed in Sundanese sandiwara traditional drama form.
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The hardest challenge for the digital animators at Weta was creating the Grim Reaper, which went through many transformations before finding physical form. "We set out with the intention of doing the Reaper as a rod puppet, maybe shooting it in a water tank," Jackson commented. "We even thought of filming someone, dressed in costume, at different camera speeds." Test footage was shot with puppets and a man in a Reaper suit, but in the end, it was decided that using computer animation would be the easiest task.
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In August 2013, The Force Awakens cinematographer Daniel Mindel and Episode VIII director Rian Johnson each stated that Abrams would use little computer-generated imagery (CGI) and more practical, traditional special effects in order to recreate the visual realism and authenticity of the original Star Wars film. To that end, the droid BB-8 was a physical prop developed by Disney Research, created by Neal Scanlan and operated live on set with the actors. Seven BB-8 puppets were constructed for filming. The most prominent was a rod puppet, controlled by puppeteers Dave Chapman and Brian Herring.
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This allowed takes to be quickly overlaid on the background plate so the crew could observe whether any spatial adjustments were required. Laine Liska was hired to lead a team of puppeteers in a new process dubbed "Mo-Motion" where the rod puppet would be simultaneously manipulated and filmed with a moving motion control camera. Depending on the complexity of the shot, the puppet was operated by 4–6 people. Sparse sets were created to provide freedom of motion for the puppeteers as well as large, solid surfaces for the puppet to act within a three dimensional space.
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The puppet versions of the characters Chowder (a Hand-Rod puppet) and Mung Daal During his time working on Nickelodeon's SpongeBob SquarePants, Greenblatt had been sketching various characters for his own animation series concept. Greenblatt originally based the premise on the idea of the sorcerer's apprentice style of story, such as The Sword in the Stone. The plot devices were modified so that the story revolves around a master chef who teaches his young apprentice how to cook. Chowder himself was developed with no specific species in mind, but rather with the intentions of invoking the image of a child's soft squeeze toy.
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A small number of shots contain computer-generated imagery, most notably the cracking alien head once the sprinklers cause thermal shock. Other CGI elements include shadows cast by the rod puppet alien, and airborne debris in outdoor scenes. David Fincher wanted the alien to be, "more of a puma, or a beast" as opposed to the upright, humanoid posture of the previous films, so the designer of the original alien, H. R. Giger, was contacted to generate new sketch ideas. His revisions included longer, thinner legs, the removal of "pipes" around the spine, and an idea for a sharp alien "tongue" in place of the secondary jaws.
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Bleeckie, a rod puppet from a series of web videos, ready to slide One of the most important techniques in puppetry is continuous motion. A puppet that remains still has a dull, lifeless appearance and is said to be dead. Motion should shift from one portion of the puppet to another, so that one moment the puppet is moving its head and the next moment shifting its torso or repositioning an arm. The puppet may shift from side to side, look around, lean or straighten, fidget (with part of the stage, its own clothing or hair, or any available object), cross or uncross its arms, sigh, tilt its head, or make any number of other small motions, in order to continue to appear lifelike.
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Hailstone then sculpted the "Possum"'s face, which was made to resemble Harris' character, in three to four hours, with Holness approving the final design. The film's reasonably low budget and tight production schedule limited the amount of time that the studio could spend on designing and constructing the character. The head, neck, and body of the "Possum" was constructed as a simple hand and rod puppet, with the body constructed out of foam latex and the head made out of fibreglass. The puppet's eight spidery legs were designed by Damian Martin, who constructed a jointed armature using multiple pick points of semi-rigid urethane, so that the puppeteering rods could be attached in multiple angles, and sides to allow more range and freedom while operating it.
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The show featured numerous characters who were previously created by Baird that included Snarky Parker, Baird's Everyman character, Charlemagne, a lion, Flannel Mouse, Slugger Ryan, a piano playing rod puppet, along with new characters that included Fluffy and Nolan, a pair of gangsters, Ronald Rodent, a villain who resembled a rat, Birdie, a slightly air-headed woman, Cuda Bara, a seductress, Butterbelle, a schoolteacher and Snarky's love interest, and Paw, her father. In 1951, Baird's Marionettes performed some of the roles in the Broadway musical Flahooley, a fantasy about a mass-produced laughing doll who unintentionally threatens the American industrial system. In 1956 Baird's puppets Gargle and Snarky appeared in Adventures in Numbers and Space, a nine part series by Westinghouse Broadcasting designed to interest children in mathematics. In 1958 to 1963, Baird's puppets would often appear on an educational show known as Parlons Francais (Let's Talk French), which taught young children how to speak French.
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