Real 10

Pre-Production Production Post-Production
Main Page

Picture Gallery

Production

Real 10 was filmed almost entirely from my dining room table with very little budget, save that required to buy a Kodak DX6490 digital camera.

The project was completed in my spare time and took approximately a year to complete.

Stop Motion Animation

The main section of the film is a choreographed sword fight between the knight and the statue which has been shot almost entirely against green screen.

To a large extent making the film also involved learning how to actually animate using Stop Motion and use chroma key as these are both techniques I'd never used before.

It tooks several attempts to produce satisfactory motion. The most difficult aspect was figuring out how many frames a sword swing should take for example.

Studying sword fights from feature films in slow motion helped to work out exactly how fast such actions should be.

It became clear that the puppets I'd constructed were not 100% suited to Stop Motion photography: the joints in the wooden armatures I'd used were not strong to support the models and they would tend to slip.

The knight puppet was particularly prone to this due to the weight of the chainmail it was wearing. I partially solved this by supporting the models with green support rods in addition to the stands they

Photography

Most shots in Real 10 were photographed digitally against green screen and then composited over either a still photograph of the castle miniature, or digital video of the same.

Chroma key was the preferred method as the castle miniature was built at a different scale to the knight and statue models due to the limited space I had to work with.

Forced perspective was also used to place the models in the foreground in some shots. This only really worked on close ups, but is much quicker than shooting green screen.

The turntable I produced enabled me to produce some moving camera shots. By marking the increments on the edge of the table I was able to record how far and by how the much the camera had moved in relation to the models each frame, and could then repeat the move exactly when I came to photograph the background.

Shots of the castle were either stills enhanced with trees and other forest imagery or video of the castle shot against the open sky. In order to get a skyline that didn't have any real trees or buildings in shot, the model was tilted at an angle and shot from below.