I was trying to light this scene with an orange glow from where the fire will be positioned. For some reason the gel filter clashes with the fluorescent causing a purplish reflection on the seats.

 

 

Where the character has to walk I cheated a bit by suspending them from a support (covered in green paper).

 

Somw wide-angle views of my workspace.

 

I had to plan ahead with the lighting of the characters so it will coincide with the digital lighting for that scene

 

Sometimes the shadows caused problems when keying out the green.

 

 I did have some problems with the cameras battery. There was no spare or no mains lead and I had to have the live view turned on while shooting, which meant that the battery failed fairly often. In the image above you can see where I had to support the character with string as she had been left so long in a leaning forward position that gravity had caused a permanent over-lean,- not in the same position as when the battery died. Luckily the software has an onion skinning feature - allowing a semi transparent view of the previous frame - which allowed me to reposition her correctly and continue shooting in sequence.

 

The string can be seen clearly from an angle but it was a face-on shot so I got away with ti.

 

One of my shots involves a rotating camera move. The camera should revolve around four characters who are standing around a table. A big thanks to fellow student Jack Brown who built this device for another project and allowed me to us it for this shot. I positioned each character as they would appear in the scene - at north, south, east and west outer points on the lower (big) disc. Turning the cog on the right then rotates the disc at a consistent speed, which meant I could shoot the scene in live-action mode. I did do a graduated still sequence also - just in case.

 

Running repairs were a constant distraction. In this instance the characters leg fell off when the armature wire broke. One of the drawbacks of doing things on the cheap. Worse still was the fact that the legs were cast in silicone. I had to drill a hole into the thigh section and glue in some new wire. Then I drilled through the pelvis and threaded the wire through and wrapped it around the waist. maybe I should have been a surgeon.

 

 

I made a stage for the shots where the characters have to stand freely. I just drill holes at their feet positions and secure from underneath with bolts. The first time I shot using this I forgot to cover the floor with green paper. This can then be keyed out along with the background.

 

 

I made a new section of wall (that's in ruins) for my final scene. It's a tower wall and so it should be round but it seems that you can curve a plane in After Effects, which is what I plan to do. I've made a round section of floor for this shot and will curve the wall plane along it's edge.

 

I only had one piece of foam board to make the background walls from. It measures 60 x 60cm and so I made a door opening in the bottom third.

 

I then flipped it upside down and made a section with a window opening on the opposite third..

 

this leaves me with a section of plain wall in the middle.

 

I wasn't sure how I was going to make the spiral staircase but we got some more foam board and I decided to use this. Details of the construction are below.

 

I also had to make a new fireplace, as one that I already had didn't match in colour or scale.

 

The new circular section of floor. I couldn't use the existing rectangular piece for this shot as it involves a vertical pan.

 

The old fireplace

 

One of the shots is a low-angle view point from inside the fireplace which meant adding detail to the inside.

 

To construct the spiral staircase I began by cutting a dozen keyhole shapes.

 

They were a bit uneven but I think that might look more realistic than having it perfect.

 

I then pierced the centre of the end circle on each one and pushed them along a wooden skewer

 

Each step was then fanned out away from the next

 

While foam board is great for making stuff it is fairly fragile. I broke the bottom step when painting them - thank god for superglue.

 

My first attempt at a wall torch using newplast. I've made more robust ones since from Fimo - which can be baked hard.

Well I've bought a new hot-glue gun - can't do this without one - and was able to assemble the table and benches (and one chair) for the great hall scenes.

 

For this green screen test I have two spot-lights, one on either side of the screen, directed at it, and another above and to the left of the character.

 

 

I also made a stand for the characters to be suspended from when shot against the green screen - for full length shots. It's been covered in the same material as the screen but is obviously lit differently as it's closer to the camera. It seems as though the lighting for the screen might be too bright, I'm using spotlights but I think they will have to be changed to regular bulbs with reflected shields.

 

I tried another shot with the spot lights directed off the green screen altogether. I also used a higher resolution as I thought the quality of the first images where affecting the keying. But the spot in front of him is also too bright, maybe I can just diffuse all the lights as I don't think I can get lower rated bulbs for them. I have tried keying out the green screen in After Effects but the variations in the light intensity is causing big problems. I need to get this sorted out soon, or I will have to build sets to match the characters scale - about 30cm tall - which is going to add loads more work. What's actually a bit strange is that his tunic is grey, his boots are black and his skin tone is tanned. And the belt (hair bobble) is navy blue? I must have changed something on my camera settings - I've no idea what though. Cameras - and their multitude of settings - are not really my strong point, so if anyone knows what it could be, maybe you could let me know?

Please check out previous posts for more work on this project.