ONE FOOT IN THE GRAVE
The completion of the sequence ‘Boot squishes eyeball‘ was significant, not simply as it was the first stop motion sequence to be wrapped but also as it set some basic standards for lighting, composition and overall aesthetic. In terms of movement, the sequence was deceptively complex; involving a rig, glass in front of the camera and replacement eyeballs to achieve 24 frames worth of action. Further, paint mixed in Vaseline on glass was used to create the pulp that seemingly hits the lens as the eyeball bursts under foot, adding to the highly textured imagery that is a prerequisite in the production’s visual design.
Criticism of the motion was that it wasn’t a smooth as it could be. One method since considered to remedy this is the use of motion studies for all subsequent sequences, regardless of the seeming simplicity of the motion. As it is possible to import video into Dragonframe for frame by frame playback whilst animating, I plan to video myself acting out each sequence and use these as a ‘rotoscope guide’ for the animation whilst under production. This should better ensure a more plausible and polished result.
Another observation was to be cautious with the lighting. Despite several recces, the image may still be a little under exposed which may render it too dark on some display mediums. Advice has been to slightly over expose and then correct in Adobe After Effects as necessary. Further tweaking to the standard lighting mix is certainly required before further sequences are shot. In general, however, I am pleased with the outcome and feel one step further to laying ‘The Bone House‘ to rest.