Laurence Thérien’s Ball Face — the production schedule
Thérien says Ball Face — "four and a half minutes long" — was made during a run that "took 6 months 14 hours a day, 6 days a week".
What the schedule tells freelancers
Laurence Thérien reports Ball Face was produced on a concentrated schedule: it "took 6 months 14 hours a day, 6 days a week" to realise a short she describes as "four and a half minutes long" (figure checked 2026-07-03).
For stop-motion and clay work, that quote is a rare, usable benchmark. It underlines how much continuous studio time, crew coordination and post-production attention even a very short film can demand. Thérien’s phrasing points to an intensive, marathon-style shoot rather than a trickle of weekend sessions.
Practical takeaways for freelancers preparing quotes: itemise shoot days, clearly scope overtime or extended-hour work, and build in studio-access constraints. When a director reports a sustained daily rhythm like Thérien’s, line producers and animators should plan contracts and invoices around sustained blocks of availability, not only per-day or per-shot estimates.
Keep Thérien’s exact phrasing to hand when negotiating timelines: it’s one of the few on-record schedules for a contemporary clay short that professionals can compare against their own bids.
A figure here out of date? Send us the current source and we will update the page and date the change.
